“ta 
Carne 
ssa 


SAO elt 
eM oN a ok S 
sented e tad) 


Ps ioe 
che 
y, 


Abin 


< 
wettcens 
eats 


Pe 
Street 
4 SESH he 


e 
oy 


Kite. 
ite 


% 
itera 


hy eataler 
Fees 

; Mead 
sages es : ‘ Bet De taghst Bek cteaengetgeehy Cra Meatehytacksert 
%s Feehaay eh 


Tate 


‘F - 
ef Yas a ‘ sae ot 
sith veti AS 5 
rae trate Be 
TH - 1 ors 
Seleran at 
Shit) Pet 


>t oy 
pana eehe 

ft 

ti 


eee ep dite 
CY ae OK 


» 


sh Sys N, 
ey 

(! ‘ 

4 ua 


4 “aia 
AG x 5-29 
SS 


. s 
iS 


THE COLLECTION OF THE LATE 


DAVID C. LYALL 


ON VIEW DAY AND EVENING AT 
THE AMERICAN ART GALLERIES 
FROM WEDNESDAY, FEBRUARY 
FOURTH, UNTIL THE MORNING 
OF THE DAY OF SALE, INCLUSIVE 


SALE AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


TUESDAY EVENING, FEBRUARY TENTH 


BEGINNING PROMPTLY AT EIGHT O’CLOCK 


y 


“ 


er ee 


ork 
Le hort bt f 


ILLUSTRATED CATALOGUE OF 


PAINTINGS, PASTELS 
AND WATER COLORS 


COLLECTED BY 


THE LATE 


DAVID GC. LYALL 
OF BROOKLYN 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


THE SALE WILL BE CONDUCTED BY 
THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK: 1903 


d 


BY THE AMERICAN “ART 


CPA CY 


Press of J. J. Little & Co., 


) 
2 
; 
! 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be im- 
mediately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
upon the conclusion of the Sale, and the remainder of the 
Purchase-money to be absolutely paid, or otherwise settled for 
to the satisfaction of the Auctioneer, on or before delivery; in 
default of which the undersigned will not hold themselves respon- 
sible if the Lots be lost, stolen, damaged, or destroyed, but they 


will be lefi at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he_ being 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. 

6. To prevent inaccuracy in delivery, and inconvenience, in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale shall be re-sold by public 
or priate sale, without further notice, and the deficiency (if any) 
attending such re-sale shall be made good by the defaulter at 
this Sale, together with all charges attending the same. This Con- 
dition is without prejudice to the right of the Auctioneer to en- 
force the contract made at this Sale, without such re-sale, if he 
thinks fit. 

Tue AMERICAN ART ASSOCIATION, Manacers 


Tuomas EK. Kirsy, Auctioneer 


i 
ti 


y 


% 


. 
: 


INTRODUCTION 


For a number of years the collection of pictures 
owned by Mr. David C. Lyall of Brooklyn was the goal 


of a pilgrimage of very many lovers of art, and par- — 


ticularly of those whose predilections were in favor of 


the French school. He began his collection with the 
distinct purpose of assembling as thoroughly a repre- 
sentative group of pictures by notable French artists 
who have flourished during the past fifty or sixty years 
as it was possible to obtain by careful selection with- 
out overloading it with a multiplicity of examples of 
any one painter or by expanding the collection beyond 
the limits of a reasonably extensive private gallery by 
the purchase of large exhibition pictures. With a few 
exceptions the works are, thus, of cabinet size, and no 
one of them is, indeed, too large to be properly placed 
in a room of the average size. Bouguereau’s “ Crossing 
the Stream” and Cot’s “ Springtime,” both of them 
very well-known paintings, are the largest on the list, and 
two of the most important and interesting of the figure 
subjects are Jules Breton’s *‘ La Fin du Travail ” and 
De Neuville’s ** The Destruction of the Telegraph Line: 
An Episode in the Franco-German War.” The first of 


these was painted for Mr. Lyall, and has never been pub- 
licly exhibited except in the Salon of 1887. 

It is a frequent experience of those who give commis- 
sions to artists that the very fact of painting to order 
tends to weaken the impulse to produce, and the result 
is, mure often than otherwise, somewhat disappointing. 
But in this fine work by Breton we find all the charm,_ 
all the sympathy and all the refined artistic qualities 
which distinguish his best pictures, and he himself 
frankly states his opinion in a letter in which he writes: 
“This picture has been very much praised by my col- 
leagues of the jury,” and in a second communication : 
“ You should see how the French and the foreign press 
praise this picture, which I regard as one of my best.” 

There is a certain exceptional interest attaching to 
De Neuville’s picture, from the fact that it is the last im- 
portant work executed by him before his death, which 
occurred in 1885, the year after the picture was painted. 
In his letter describing the circumstances under which 
the work was undertaken and produced, he says: “ The 
incident is described in a very vivid way by Ludovic 
Halévy in his book, ‘ L’Invasion.’” And he goes on 
to say that, for artistic reasons, he changed the uni- 
forms of the Prussian dragoons, and also omitted some 
of the unpicturesque features of the village of Etretat, 
where the incident occurred. Many of the figures in 
the composition are actually portraits, a fact which adds 


not a little to its historical significance. 


It would be easy to multiply interesting stories of a 
more or less personal character about many of the pic- 
tures in the collection, for Mr. Lyall often bought di- 
rectly from the artists and established friendly relations 
with them. Certain of the works have become widely 
known through reproductions, but none of them have 
been cheapened by being made too familiar. The most 
casual study of the pictures will induce the conviction 
that it is a remarkable collection, testifying to the ex- 
ceptional taste and judgment of the late owner. With 
the Millets, the Rousseaus, the Daubignys, the Corots as 
a nucleus, not to mention examples by Courbet, Michel, 
Gérome, Delacroix, Diaz and many others, this list covers 
a wide range of French art, and one for which it would 
be difficult to find a parallel. The few English and 
American pictures in the collection make it seem prob- 
able that Mr. Lyall, if he had lived, would have studied 
these schools with the same interest which he showed for 


the French. 


F. D. MILLET 


BIOGRAPHICAL NOTES 
AND INDEX 


ACHENBACH, OSWALD 


Born at Diisseldorf in 1827. He was a pupil of his 
brother Andreas, and became one of the most eminent 
of the German landscape painters, his work being dis- 
tinguished by great conscientiousness and fidelity to cer- 
tain facts in nature. He received medals at Paris in 
1859, 1861 and 1863, and was made Chevalier of the 
Legion of Honor in the latter year. 


ON THE MEDITERRANEAN 103 


ADAN, LOUIS EMILE 


Born at Paris in 1839. He was a pupil of Picot 
and Cabanel, and has loyally carried out the traditions 
of his masters in his historical and genre pictures. He 
received medals at the Salon in 1875 and 1882. 


THE SLY BUTLER 1 


-BASTIEN-LEPAGE, JULES 


Born at Damvillers, Meuse, France, in 1848. He 
studied under Cabanel in Paris, but soon threw off the 
shackles of the academic style and became an apostle 
of the open-air school, striking out a new path for him- 
self and creating a sensation in art circles with his mar- 
vellously sympathetic and poetical interpretations of 
nature. Some of his most important work; notably the 
** Joan of Arc,” is owned in this country. He received 
medals at the Salon in 1874, 1875 and at the Expo-— 
sition in 1878, and was made Chevalier of the Legion of 
Honor in 1879. Died in Paris in 1884. 


RIRE D°’AVRIL 37 


BECKER, CARL LUDWIG FRIEDRICH 


Born at Berlin in 1820. He was a student in the 
Berlin Academy and a pupil of Cornelius, Hess and Von 
Klober, and held scholarships of the Berlin Academy at 
Paris and Rome. He was elected vice-president of this 
Academy and member of the Academy of Vienna and of 
the Royal Society of Letters and Finé Arts of Belgium. 
His duties as professor have not prevented him from 
diligently pursuing his art, and he is well known as 
a painter at home and abroad. 


OLD BEAUX 85 


BOHM, PAUL 


Born in Bavaria. He studied his art in Munich, 
and has devoted himself exclusively to painting genre 
subjects of peasant life, in no way distracted or diverted 
from his purpose by the influence of the ephemeral 
schools which flourish in Munich as elsewhere. His 
work is always characterized by great solidity, strength 
of effect and careful finish. 


MOTHER’S PRIDE 21 


BOLDINI, GIOVANNI 


Born at Ferrara, Italy, in 1845. He studied his 
art in Florence, and remained in his native country until 
1872, when he went to Paris. In that city he soon made 
a reputation as a painter with brilliant technique, and 
his pictures attracted the notice of Fortuny, who not 
only became his friend, but influenced him very much 
in his work. However, not even so strong a personality 
as that of Fortuny could affect his style so far as to 
take away the charm of individuality, and he has always 
retained his own strong characteristics. 


THE BOUDOIR 38 


BONHEUR, FRANCOIS AUGUSTE 


Born at Bordeaux in 1824. He was the son of 
an unsuccessful artist, Raymond B. Bonheur, and the 
younger brother of Rosa Bonheur. The glamour of 
the reputation of the sister naturally kept the brother 
somewhat in the background, but his talents were recog- 
nized and esteemed by his contemporaries in the pro- 
fession, and he received medals at Paris in 1852, 1857, 
1859, 1861, and was made Chevalier of the Legion of 
Honor in 1867. His work is strong and faithful, and 
quite as striking in quality as that of his sister. Died 
in 1884. 


SUMMER TIME &3 


BONNAT, LEON JOSEPH FLORENTIN — 


Born at Bayonne in 1833. He first studied under 
Madrazo in Madrid, and after some time with this 
Spanish master he went to Paris and became a pupil of 
Léon Cogniet. In the competition for the Prix de 
Rome he took the second prize, which did not entitle 
him to a full scholarship. His friends, however, came 
to his assistance, and he spent four years studying in 
Italy, where he painted a good many Italian subjects, 
chiefly studies of peasant life. He has received many 
honors in his profession, the chief of which are medals 
at the Salon in 1861, 1863 and at the Exposition of 


1867, and a medal of honor at the Salon in 1869. He 
was made Chevalier of the Legion of Honor in 1869, 
Officer in 1874, Commander in 1882 and Grand Com- 
mander in 1897. Member of the Institute of France. 


THE BROKEN PITCHER 86 


BOUGUEREAU, WILLIAM ADOLPHE 


Born at La Rochelle in 1825. He began life as a 
shopkeeper’s assistant in his native town, and while en- 
gaged in this occupation in Bordeaux he attended the 
Alaux Art School, and made such progress that he 
gained the prize, exciting the dismay and the resent- 
ment of his fellow-students. He now resolved to be- 
come an artist, threw up his employment and painted 
portraits at a few francs each until he succeeded in sav- 
ing enough money to take him to Paris. There he 
entered the Ecole des Beaux Arts in the studio of Picot 
in 1843, and in 1850 won the Prix de Rome. After his 
four years’ sojourn in Rome he returned to Paris well 
equipped to undertake the commissions for both public 
and private works which were speedily intrusted to him, 
and from that time on his career has been one of unin- 
terrupted success. The following are a few of the 
honors he has received: Medals at the Salon in 1857 
and the Expositions in 1855 and 1867. He was made 
Chevalier of the Legion of Honor in 1859, Officer in 
1876, and Commander in 1885. He was elected a Mem- 


BONHEUR, FRANCOIS AUGUSTE 


Born at Bordeaux in 1824. He was the son of 
an unsuccessful artist, Raymond B. Bonheur, and the 
younger brother of Rosa Bonheur. The glamour of 
the reputation of the sister naturally kept the brother 


somewhat in the background, but his talents were recog- 


nized and esteemed by his contemporaries in the pro- 
fession, and he received medals at Paris in 1852, 1857, 
1859, 1861, and was made Chevalier of the Legion of 
Honor in 1867. His work is strong and faithful, and 
quite as striking in quality as that of his sister. Died 
in 1884. 


SUMMER TIME 88 2 


BONNAT, LEON JOSEPH FLORENTIN | 


Born at Bayonne in 1833. He first studied under 
Madrazo in Madrid, and after some time with this 
Spanish master he went to Paris and became a pupil of 
Léon Cogniet. In the competition for the Prix de 
Rome he took the second prize, which did not entitle 
him to a full scholarship. His friends, however, came 
to his assistance, and he spent four years studying in 
Italy, where he painted a good many Italian subjects, 
chiefly studies of peasant life. He has received many 
honors in his profession, the chief of which are medals 
at the Salon in 1861, 1863 and at the Exposition of 


1867, and a medal of honor at the Salon in 1869. He 
was made Chevalier of the Legion of Honor in 1869, 
Officer in 1874, Commander in 1882 and Grand Com- 
mander in 1897. Member of the Institute of France. 


THE BROKEN PITCHER 86 


BOUGUEREAU, WILLIAM ADOLPHE 


Born at La Rochelle in 1825. He began life as a 
shopkeeper’s assistant in his native town, and while en- 
gaged in this occupation in Bordeaux he attended the 
Alaux Art School, and made such progress that he 
gained the prize, exciting the dismay and the resent- 
ment of his fellow-students. He now resolved to be- 
come an artist, threw up his employment and painted 
portraits at a few francs each until he succeeded in sav- 
ing enough money to take him to Paris. There he 
entered the Ecole des Beaux Arts in the studio of Picot 
in 1848, and in 1850 won the Prix de Rome. After his 
four years’ sojourn in Rome he returned to Paris well 
equipped to undertake the commissions for both public 
and private works which were speedily intrusted to him, 
and from that time on his career has been one of unin- 
terrupted success. The following are a few of the 
honors he has received: Medals at the Salon in 1857 
and the Expositions in 1855 and 1867. He was made 
Chevalier of the Legion of Honor in 1859, Officer in 
1876, and Commander in 1885. He was elected a Mem- 


ber of the Institute of France in 1876, and received a 
medal of honor at the Exposition in 1878 and at the 
Salon in 1885. 


CROSSING THE STREAM 100 


BRASCASSAT, JACQUES RAYMOND 


Born at Bordeaux in 1805. He first studied land- 
scape art in Paris, but devoted his attention soon to ani- 
mal painting, and is considered the founder of the school 
of which Troyon is the most eminent follower. He was 
a pupil of Richard and of Hersent, and gained the second 
prize for Historic Landscape in 1825. He painted for 
several years in Italy. He received medals at Paris in 
1827, 1831 and 1837; was made a Chevalier of the 
Legion of Honor in 1837 and a Member of the Insti- 
tute of France in 1846. Died in 1867. 


BULL AND DOG 56 


BRETON, JULES ADOLPHE 


Born at Courriéres, in France, in 1827. He studied 
under Drdolling and Devigne, and made his first success 
in Paris as early as 1849. Within a very few years he 
established his reputation as a painter of peasant sub- 


jects, and when his picture “ Blessing the Harvest ” was 
bought by the French Government he took his place at 
once in the front rank of French artists. Many of his 
best pictures are now in the United States, and he is 
represented in most of the notable collections of modern 
art the world over. No artist has been more popular, 
and no one has been given a greater number of medals 
and other distinctions. He received medals at Paris in 
1855, 1857, 1859, 1861, 1867, and the Medal of Honor 
in 1872. He was made Chevalier of the Legion of 
Honor in 1861, Officer in 1867 and Commander in 1889. 
He is a corresponding member of the Academies of 
Vienna, Stockholm, Madrid and London, and a Member 
of the Institute of France. 


LA FIN DU TRAVAIL 95 


CABAT, LOUIS 


Born in Paris in 1812. He was a pupil of Camille 
Flers, and was a successful landscape painter. Without 
being identified with any particular group, he occupied a 
dignified and influential position. He received medals 
at Paris in 1834 and 1867; was made Chevalier of the 
Legion of Honor in 1843 and Officer in 1855. He was 
elected a Member of the Institute of France in 1867, 
and Director of the French Academy at Rome in 1879. 


LANDSCAPE 66 


CAZIN, JEAN CHARLES 


Born at Samer, Picardy. He began his studies as a 
figure painter, became a pupil of Lecoq de Boisbau-— 
dran and gained considerable reputation with figure 
subjects, receiving medals in 1876 and 1877. He 
turned his attention, however, to landscape, and _ his 
triumphs in that branch of art brought him into world- 
-_ wide prominence. He was made Chevalier of the Legion 
of Honor in 1882, and previous to his death was made 
a Commander. Died in 1901. 


MON JARDIN ; 59 


CHAPLIN, CHARLES JOSHUA 


Born at Les Andelys in 1825. He made his prelimi- 
nary studies at the Ecole des Beaux Arts in Paris, and 
was for some time in the studio of Drdlling. Notwith- 
standing his training, he never entered upon the field 
of historical painting, but confined himself to a simple 
line of idealistic subjects, in which he has achieved dis- 
tinction. He received medals at Paris in 1851, 1852 
and 1865; was made Chevalier of the Legion of Honor 
in 1865, and Officer in 1877. Died 1891. 


THE BATHER 5 


COOPER, THOMAS SIDNEY 


Born at Canterbury, England, in 1803. He was a 
student of the schools of the Royal Academy, London, 
lived for some time in France and Belgium, and was for 


- a few months a pupil of Verboeckhoven. He was elected 


an Associate of the Royal Academy in 1845 and a full 
member in 1867, and has received many foreign honors. 
He was a very conscientious and diligent worker, and 
his career was a most remarkable one, for he painted al- 
most up to the day of his death, which occurred in 1902. 


LANDSCAPE AND CATTLE 4 


COROT, JEAN BAPTISTE CAMILLE 


Born at Paris in 1796. His father, who was a well- 
to-do tradesman, at first apprenticed him to a linen dra- 
per, but finally yielded to his desires to become a painter 
and sent him to Paris, where he studied under Michallon 
and Bertin. He made several trips to Italy, and painted 
in that country many landscapes, mostly of the aca- 
demic order. It was not until he was past forty years 
of age that he began to develop his art in the direction 
which made him famous. In this change from the 
formal academic style he was much influenced by Rous- 
seau, but became, in his turn, a source of great influ- 
ence on modern landscape art. He received medals at 


Paris in 1833, 1848, 1855 and 1867; was made Chey- 
alier of the Legion of Honor in 1846 and Officer in 1867. 
Died in Paris in 1875. 


NEAR THE SEA 47 


THE FOREST PATH (ie 
LE BOULEAU 70 


COT, PIERRE AUGUSTE 


Born at Bévarieux, France, in 1837. He began his 
studies in the Academy at Toulouse, and from there 
went to Paris, where he entered the Ecole des Beaux 
Arts, where he took most of the important prizes. He 
was a pupil successively of Cabanel, Cogniet and Bou- 
guereau. While with Cogniet he assisted him in the 
decoration of the great hall of the Hotel de Ville. His 
ability and his talents as a designer brought him to the 
notice of Bouguereau, and he entered his studio and 
remained there for several years. His first works were 
similar in subject to those of his last master, but after 
the Exposition at Vienna in 1873, where he reccived a 
medal, he chiefly occupied himself with portraiture, al- 
though he worked occasionally on figure subjects, several 
of which were left by him in an unfinished state at the 
time of his death. Died in 1883. 


SPRINGTIME 105 


COURBET, GUSTAVE 


Born at Ornans in 1819. He was engaged in the 
study of the law when his disposition toward art began 
to manifest itself, and in 1839, at the end of two years, 
he went to Paris. ‘There he studied in a somewhat ir- 
regular manner with various painters, the chief of 
whom was David d’Angers, and exhibited first in 1844. 
He became an active and aggressive realist, received 
medals at Paris in 1849, 1857 and 1861, but became in- 
volved in various quarrels, exhibited independently of 
the artistic organizations, refused to take from Emperor 
Napoleon III. the cross of the Legion of Honor, but 
accepted various foreign distinctions. During the 
Commune he was elected Minister of Fine Arts, and 
became chiefly notorious through the overthrow of the 
Colonne Vendéme, for which act he was first imprisoned, 
then exiled and condemned to bear the cost of restoring 
the monument. His art partook, naturally, much of the 


nature of the man, and is essentially bold and personal. 


Died in Switzerland in 1878. 


ENVIRONS OF ORNANS 88 


COX, DAVID 


Born near Birmingham, England, in 1783. He be- 
gan his career as a scene painter in a Birmingham theatre, 
and went to London in 1803, where he became a teacher 
of drawing and painting, and practised his profession 


with great success. His name is identified with a flour- 
ishing school of English landscape painters, of which he 
was one of the leaders. In 1844 he settled at Harborne 
Heath, near Birmingham, where he died in 1859. 


CROSSING THE COMMON & 


DARGELAS, HENRI 


Born at Bordeaux in 1828. He studied under Picot, 
who at that time was a favorite master, but turned his 
attention to genre rather than to historical subjects, 
and was a frequent exhibitor at the Salon, where he re- 
ceived medals in 1867 and in 1881. 


THE SEWING LESSON 35 


DAUBIGNY, CHARLES FRANCOIS 


Born at Paris in 1817. He came of a family of 
artists, and was reared in the profession. He was first 
a pupil of his father, and then studied under Paul Dela- 
roche with the intention of becoming a figure painter. 
But he soon found that his inclinations were in the direc- 
tion of landscape, and he devoted himself to that branch 
of the art. He began to exhibit in 1838, and in the 
course of ten years gained recognition, and, although 


the youngest of the Barbizon group, he was not the 
least esteemed among them. He painted particularly on 
the Seine, Marne and Oise rivers, making his studies 
from a floating studio. He received medals at Paris in 
1848, 1853, 1857, 1859 and 1867; was made Chevalier 
of the Legion of Honor in 1859 and Officer in 1874. 
Died in 1878. 


. BORDS DE RIVIERE 53 
SUNSET ON THE RIVER 60 
TWILIGHT 61 
EARLY - SPRING 92 


DE BEAUMONT, CHARLES EDOUARD 


Born at Lannion, France, in 1821. He went to 
Paris as a student, and became the pupil of Boiselier. 
He first called attention to himself as a landscape painter, 
but he became interested in figures and made a consider- 
able reputation as a painter of genre subjects as well as 
an illustrator of books. He exhibited first in the Salon 
in 1838. 


A SUMMER IDYL 10 


THE PARROT el 


DELACROILX, FERDINAND VICTOR 
EUGENE 


Born at Charenton in 1799. He made his début as 
a painter at the early age of twenty-three with his 
“Dante and Virgil,” when he was still a pupil of Guerin. 
But he did not long follow the banner of the classicists, 
for he broke new ground for himself, travelled in Eng- 
land, Spain and North Africa, and, although always 
in feeble health, produced a marvellous number of pic- 
tures, covering a great range of subjects and notable 
for wonderful richness of color and boldness of execu- 
tion. He received medals at Paris in 1824 and 1848, 
and the Medal of Honor at the Exposition in 1855. 
He was made Chevalier of the Legion of Honor in 1831, 
Officer in 1846 and Commander in 1855. He was a 
Member of the Institute of France. Died in 1863. 


L’ENLEVEMENT DE REBECCA 96 


‘ 


DE NEUVILLE, ALPHONSE MARIE 


Born at Saint Omer, France, in 1836. His parents, 
who were rich and influential, intended him for an official — 
career, but from the first his tastes inclined to the army, 
and finally he was sent to the military school at Lorient. 
During his brief stay there and also in the law school 
in Paris, where he attended to please his parents, he 


spent most of his time sketching, and finally determined 
to become a painter, notwithstanding the remonstrances 
of his family and friends. He studied with Delacroix 
and Picot, more as a friend than as a student, but his 
first pictures were not successful. The Franco-Prussian 
War gave him, however, the necessary stimulus and op- 
portunity, and his pictures of that epoch are among the 
most remarkable war pictures ever painted. He received 
medals at Paris in 1859 and 1861; was made Chevalier 
of the Legion of Honor in 1873 and Officer in 1881. 
Died in 1885. 


THE DESTRUCTION OF THE TELEGRAPH 
LINE: An Episode in the Franco-German War 97 


DIAZ DE LA PENA, NARCISSE VIRGILE 


Born at Bordeaux in 1807. His parents were refu- 
gees from Spain, and, his father having died, his mother 
brought him to Paris. He had lost a leg through the 
bite of a poisonous insect, but succeeded in getting em- 
ployment in the porcelain manufactory at Sévres, where 
he worked for a while, and then set about painting little 
pictures of nymphs and cupids by himself. The fame 
of the Barbizon school attracted him to the forest of 
Fontainebleau, and under the influence of the painters 
there, chiefly of Rousseau, he developed his art and gained 
success as a landscape painter. He received medals at 


Paris in 1844, 1846 and 1848, and was made Chevalier 
of the Legion of Honor in 1851. Died in 1876. 


FOREST OF FONTAINEBLEAU ae 


CUPID'S FESTIVAL Th. 


DUPRE, JULES 


Born at Nantes in 1812. As a lad he worked at 
painting porcelain in the Sévres manufactory, but in his 
leisure he studied from nature, and in the course of time 
began to paint landscapes. He visited England, and was 
very much impressed by the work of Constable. On 
his return he exhibited two pictures in the Salon of 
1833, and was at once acknowledged a master. With 
Rousseau, who was his lifelong friend, he became a leader 
of the Barbizon group, and held a distinguished position 
among his contemporaries as one of the founders of this 
school. He received medals at Paris in 1833 and 1867; 
was made Chevalier of the Legion of Honor in 1849 
and Officer in 1870. Died in 1889. 


THE COMING STORM 39 


SUNSET ds 
A BRITTANY FARM Lb 


LANDSCAPE—AUTUMN 54 


ERDMANN, OTTO 


Born at Leipsic in 1834. He was a student in the 
Leipsic Academy, and was brought up in the traditions 
of the German school of genre painting, from which he 
has not departed. He painted for some time in Dresden 
and in Munich, but finally settled in Diisseldorf in 1858. 


"IS TT FOR ME?” 104 


ERNST, RUDOLF 


Following closely the school of Géréme, this artist 
finds his subjects in the Orient, and paints with great 
fidelity the details of Oriental architecture, the textures 
of the rich draperies and the types of the interesting 
peoples of the East. 


DESPATCH BEARER 19 


FABRON, LOUIS 


This foilower of the Spanish-Italian school of water- 
color painting keeps up the tradition of the school in his 
lively studies of figures in costume, the most attractive 


of which are Orientals whose dress gives an opportunity ~ 
for the skilful imitation of textures and for the employ- 


ment of rich colors. 


A TURKISH SOLDIER 32 


FOSTER, BIRKET 


Born at North Shields, England, in 1825. He was 
a pupil of E. Landells, a well-known engraver of the 
time, and worked as an illustrator until 1859, when he 
began to exhibit as a water-color painter. His choice 
of subjects and the skill with which he handled his ma- 
terial soon made him popular, and established his repu- 
tation as one of the leaders of the English school of 
water-color painters. He was elected Associate of the 
Royal Water Color Society in 1860, and a year later 
was made full member. Died in 1901. : 


A SEASHORE SCENE 6 


MENDING BABY’S CARRIAGE tf 


FRANCAIS, FRANCOIS LOUIS 


Born at Plombiéres, Vosges, France, in 1814. He 
studied his profession in Paris under Gignoux and later 


with Corot. Although he was strongly influenced by 
both these masters, his tendency toward the formal and 
rather academic style of composition was never greatly 
modified by the example of the latter artist, and he re- 
mained loyal to his early traditions, producing much 
agreeable, dignified and noble work. He received 
medals at Paris m 1841, 1848, 1855 and 1867, and a 
medal of honor at the Exposition in 1878. He was 
made Chevalier of the Legion of Honor in 1853 and 
Officer in 1867. Died in 1897. 


ENVIRONS DE ROME—SUNSET 58 


ENVIRONS DE PLOMBIERES 64 


FRAPPA, JOSE 


Born at St. Etienne, France, in 1854. As a youth 
he worked in a silk manufactory designing patterns for 
silks. By the time he was twenty years of age he had 
saved some money and, ambitious to become an artist, 
he went to Paris, studied under Pils and, later, under 
Compte and Vibert. He has apparently been more 
strongly influenced by the latter artist than by his other 
masters, and has gained a wide reputation as a painter 
of genre subjects. 


IN THE ART GALLERY 78 


FROMENTIN, EUGENE 


Born at La Rochelle in 1820. He was the son of 
a successful lawyer and intended to follow his father’s 
profession. But after receiving his diploma in Paris, 
‘at the age of twenty-three, he was taken ill, and as a 
pastime took up the study of drawing. He soon dis- 
covered that his tastes were stronger in the direction of 
art than toward the practice of law, and he became a 
pupil of Cabat and Rémond. He had visited Algeria 
as a youth, and, attracted by Marilhat’s paintings of the — 
Orient, now made up his mind to return to that country. 
He accordingly spent three years there—1846 and 1848 
and 1852. In 1847 he first exhibited at the Salon, and 
in a few years was recognized as the most sympathetic 
and poetical painter of Oriental subjects, and became, 
indeed, the leader of a school. Meanwhile he established 
his reputation as a brilliant and facile writer, not only 
as a critic of art, but as a novelist. He received medals 
at the Paris Salon in 1849, 1857 and 1859, and at the 
Exposition in 1867. He was made Chevalier of the — 
Legion of Honor in 1859 and Officer in 1869. Died 
in 1876. 


SOUVENIR OF ALGERIA 93 


GEROME, JEAN LEON 


Born at Vesoul, France, in 1824. He went to Paris 
in 1841, and entered the Ecole des Beaux Arts, becom- 


—seak 


ing the pupil of Paul Delaroche, whom he accompanied 
to Italy three years later. On his return he studied with 
Gleyre, and in 1847 exhibited at the Salon a picture, 
* Cocks Fighting,” which won him a medal. During the 
next fifteen or twenty years he travelled in various coun- 
tries and painted a wide range of subjects, from the 
Oriental to the classical, exhibiting in all of them the 
same irreproachable accuracy of execution and profound 
observation. A little later he turned his attention to 
sculpture, and he has produced several statues of great 
merit. His serious purpose in art, coupled with his mas- 
tery of his method and his wide knowledge, has gained 
for him a place in modern art in which he has no rival. 
He has received most of the honors that an artist can 
have, and among them may be enumerated medals at the 
Paris Salon in 1847 and 1848 and at the Exposition in 
1855: Member of the Institute of France in 1865; Medal 
of Honor at the Exposition in 1867, at the Salon in 
1874; Medal for Sculpture and Medal of Honor at the 
Exposition in 1878. He was made Chevalier of the 
Legion of Honor in 1855, Officer in 1867 and Com- 
mander in 1878. 


A STROLLING MERCHANT 89 


HANOTEAU, HECTOR 


Born at Decize, Niévre, France, in 1823. He went 
early to Paris and studied there under Gigoux. He has 
had a successful career, and has made himself known for 


his agreeable rendering of Nature in her pleasant moods. 
He received medals at the Paris Salon in 1864, 1868 
and 1869, and was made Chevalier of the Legion of 
Honor in 1870. 


GARDEUSES D’OIES Uhek 


HEBERT, ANTOINE AUGUSTE ERNEST 


Born at Grenoble in 1817. He was intended by his 
family for the profession of law, studied in the Lycée 
at Grenoble, and afterwards in the Fcole de Droit at 
Paris. During his studentship he frequently worked at 
sculpture in the studio of David d’Angers, and also be- 
came a friend of Paul Delaroche, through whose influ-— 
- ence he determined to become a painter. He sent a 

picture to the Salon of 1839, which was bought by the 
Government. He thereupon entered the Ecole des Beaux 
Arts, and in due time gained the Prix de Rome and was 
fairly launched on a successful career. He received a 
medal at the Paris Salon in 1851, and at the Expositions 
in 1855 and 1867. He was made Chevalier of the 
Legion of Honor in 1853, Officer in 1867 and Com- 
mander in 1874, Director of the Academy of France at 
Rome in 1866 and Member of the Institute of France 
in 1874. Medal of Honor in 1895. 


LA VOIX CELESTE 101 


HEILBUTH, FERDINAND 


Born at Hamburg in 1826. He studied long in © 
Paris, and became a naturalized French citizen. He is 
said to have been influenced by Alfred Stevens in his 
art, but his pictures, with their piquancy, their freshness 
and their originality of impression, scarcely show this. 
They are essentially modern and essentially French. He 
received medals at the Paris Salon in 1857, 1859 and 
1861; was made Chevalier of the Legion of Honor in 
1861 and Officer in 1881. Died at Paris in 1889. 


IN THE GARDEN 29 


HENNER, JEAN JACQUES 


Born at Bernwiller, Alsace, in 1829. His father was 
a peasant and without means, but the municipality, after 
the young student had shown promising talent in the 
studio of Gabriel Guérin at Strasbourg, sent him to 
Paris, where he entered the Ecole des Beaux Arts and 
gained the Prix de Rome in 1858, while a pupil of 
Drélling and of Picot. He spent five years in Italy, 
and afterwards travelled in various countries in Eu- 
rope. Attention was first called to the great qualities 
of his work during his scholarship in Rome, and his 


'* Susannah,” exhibited in 1865, established his repu- 


tation once for all. He has been a consistent idealist all 
his life, and his work combines the great charm of purity 


with a virile strength of effect. He received medals at 
the Paris Salon in 1863, 1865 and 1866, and at the Ex- 
position in 1878. He was made Chevalier of the Legion 
of Honor in 1878 and Officer in 1878. Medal at the 
Exposition in 1878; Member of the Institute in 1889. 


PENITENT MAGDALEN | 51 


HEREAU, JULES 


Born at Paris in 1830. He was one of a large coterie 
who threw themselves heart and soul into the art move- 
ment of the time, and he became a pupil of Troyon and 
a devoted follower of the school. His landscapes, usu- 
ally with sheep or cattle as a prominent feature, are 
solid, strong in effect and vigorously executed. He re- 
ceived medals at the Paris Salon in 1865 and 1868. 
Died in 1879. 


SHEPHERDESS 69 


ISABEY, EUGENE LOUIS GABRIEL 


Born at Paris in 1804. He was the son of a well- 
known miniature painter, Jean Baptiste Isabey, and 
was the pupil of his father. He began his career as a 
genre painter, but shortly began to paint marines, and, 


indeed, during his whole professional life, more than 
sixty years, he divided his time between these two 
branches of art. In 1830 he was appointed royal ma~- 
rine painter with the French expedition to Algeria, and 
_ although he executed many important commissions for 
sea pictures, he continued to paint those remarkably 
facile, vivacious and rich-toned figure pictures for which 
he is now chiefly known. He was at one time very suc- 
cessful as a water-color painter and also as a lithog- 
rapher. He received medals at the Paris Salon in 1824 
and 1827, and at the Exposition in 1855; was made 
Chevalier of the Legion of Honor in 1832 and Officer 
in 1852. Died in 1886. 


THE CARDINAL’S BLESSING 90 


JACQUE, CHARLES EMILE 


Born at Paris in 1813. Im early life he was ap- 
prenticed to a map engraver, and during his enforced 
term of service in the army he practised wood engrav- 
ing and etching, and after leaving the army devoted 
himself to these branches of the profession. It was 
through these mediums that he first gained pubic at- 
tention, but it was not until 1861, after he had been 
painting sixt_en years, that he was accepted as a painter. 
He had a great fondness for animals, particularly for 
‘sheep and pigs, and not only bred poultry, but wrote 
a book on the subject. He was the last survivor of the 


Barbizon group, and, unlike most of his friends, ended — = 


his life in comparative affluence. He received medals at 
the Paris Salon in 1861, 1863 and 1864, and at the 
Expositions in 1867 and 1889, and was made Chevalier 
of the Legion of Honor in 1867. Died in 1894. 


SHEEP | 23 


LANDSCAPE AND SHEEP 72 


JOHNSON, DAVID 


Born at New York in 1827. He showed early in — 
life a distinct aptitude and a taste for art, and received 
at one time a few lessons from J. F. Cropsey, N.A. He 
has never been abroad, and although he has admired and 
studied the works of European masters of landscape, he 
has worked in his own way, which has proved a very suc- 
cessful and individual one. He was made a National 
Academician in 1862, received a medal at the Centennial 
Exhibition in 1876 and was one of the founders of the 
Artists’ Fund Society. | 


ON THE ESOPUS CREEK © ok 
STUDY FROM NATURE, RAMAPO 50 


LANDSCAPE | bY 


KLIMSCH, EUGENE 


A professor in the art school of Munich, this painter 
has devoted his artistic life to the production of histori- 
cal genre pictures which suggest the strong influence 


_ of the old Dutch masters, and command admiration for 


their sterling qualities of execution. 


THE CAVALIER 3 


LAMBINET, EMILE 


Born at Versailles, France, in 1815. He was first a 
pupil of Boiselier, but studied subsequently with Drdol- 
ling and Horace Vernet, and sought the motive for his 
early pictures in North Africa, in the Orient and in 
Holland. He finally devoted himself almost exclusively 
to domestic landscape, and particularly to that of the 
Seine near Bougival, where he lived. He received 
medals at the Paris Salon in 1848, 1853 and 1857, and 
was made Chevalier of the Legion of Honor in 1867. 
Died in 1878. 


LANDSCAPE 33 


LEADER, BENJAMIN WILLIAM 


Born at Worcester, England, in 1831. He showed 
early in life a decided talent for painting and, after 


some preliminary studies, went to London and entered 
the schools of the Royal Academy. Figure painting 
and sculpture alone are taught in this school, but he was 
not diverted from his purpose to become a landscape 
painter, and in a short time began to exhibit. His ex- 
ceptional skill and his choice of subjects soon made him 
popular, and he has long been a most successful painter 
of domestic landscapes. He was elected an Associate 


of the Royal Academy in 1883 and a Member in 1896. 


STORMY WEATHER: CAPEL CURIG, NORTH 
WALES : 56 


LELOIR, MAURICE 


Born at Paris in 1853. He belongs to a famous 
family of artists, and was a pupil of his father, J. B. 
Auguste Leloir, and of his elder brother Louis. He, 
naturally enough, has been much influenced by his mas- 
ters and by his surroundings, and continues to paint 
genre subjects with invariable skill and sentiment. 
He received a medal at the Exposition in 1878, and was 
made Chevalier of the Legion of Honor in 1895. 


THE FAIR ANGLER 13 
FEEDING THE PIGEONS 14 


THE FAREWELL ) 49 


MADOU, JEAN BAPTISTE 


Born at Brussels, Belgium, in 1796. He began his 


career as a lithographer, and for many years drew on 


stone with great success. But he was not satisfied with 
this medium, and occasionally painted a small genre pic- 
ture, and soon gained a wide reputation in this line. He 
was for years the professor of drawing in the military 
school of Brussels, and was made a member of the Acad- 
emies of Antwerp and Brussels. He was made Chevalier 
of the Order of Leopold, received a medal at the Ex- 
position in 1855, and was made Chevalier of the Legion 
of Honor. Died in 1877. 


THE SMOKER 37 


GRANDFATHER’S PRESENT 40 


MADRAZO, RAIMUNDO DE 


Born at Rome in 1841. His father and his grand- 
father before him were artists, his brother is an artist, 
and Fortuny was his brother-in-law, so he may be said 
to have been born and bred in the profession. He stud- 
ied first with his father, who was at the head of the 
Madrid Academy, and then went to Paris, entered the 


Ecole des Beaux Arts under Cognict and studied later 


under Winterhalter. Intimately associated with the 


famous group of Spanish-French painters of whom For- 

tuny was the chief, he has made a wide reputation for 
skilful technique and vivacity of color. His first great — 
success was made at Paris at the Exposition in 1878, 
where he received a first-class medal and was made a 
Chevalier of the Legion of Honor. At the Exposition 
of 1889 he received a medal and was made Officer of the 

Legion of Honor. : 


A GUITAR-PLAYER | Qh 


MAUVE, ANTON 


Born at Zaandam, Holland, in 1838. He was a 
pupil of P. F. Van Os, and from his master acquired the 
habit of painstaking finish which is exemplified in his 
early works. But after leaving his master he speedily 
acquired a more free and broad manner, and his work 
gained also in sentiment and refinement of tone. Both 
in water color and in oil he has rendered the charm of 
Holland and of Dutch life in an individual and sym- 
pathetic way, and his pictures are full of subtle quali- 
ties which are eminently personal. He received medals 
at the Vienna, Philadelphia, Amsterdam, Antwerp and 
Paris Expositions. Died in 1888. 


CATTLE AND LANDSCAPE 28 


MEYER VON BREMEN, JOHAN GEORG 


Born at Bremen in 1813. His. family name was 
Meyer, but he was called von Bremen from his birth- 
place. He began his preliminary studies in his native 


Bc. Hut soon went to Diisseldorf, the Mecca of Art at 


that time, and studied in the Academy under Sohn and 
Schadow. After leaving the Academy he painted, at 
first, large religious pictures, and then turned his atten- 
tion gradually to peasant genre, taking his subjects 
from life in the valleys of the Bavarian and Swiss moun- 
tains, where he was a frequent traveller. He was a most 
popular painter, and was a highly esteemed professor 
in the Academy at Berlin. Among other honors he was 
made a Member of the Amsterdam Academy, and he re- 
ceived the gold medal of Prussia in 1850, and other 
medals in Berlin, Philadelphia, etc. Died in 1886. 


MEDITATION 70 


MICHEL, GEORGES 


Born at Paris in 1763. He had a strange and 
checkered career, for he ran away with a laundress in 
his teens, restored pictures and earned money in various ~ 
other ways to support a large family, and sketched and 
painted whenever he could buy, beg or borrow materials. 
Through all this he had a distinct and individual pur- 
pose in his art, an intention doubtless founded on his 


study of the old Dutch landscapists, which he carried 
out so thoroughly that he, although unrecognized dur-_ 
ing his life, is now esteemed as the forerunner of Rous- 
seau and of his school. His pictures, which are seldom 
signed, are easily distinguishable from their great 
breadth of effect and solidity of treatment. Died in 
1843. 


LANDSCAPE 68 


LANDSCAPE AND SHEEP 50 


MILLET, JEAN FRANCOIS 


Born at Gruchy, in the Commune of Gréville, France, 
in 1814. He worked on his father’s farm until he was 
twenty years of age, and as he was constantly draw- 
ing in his leisure moments, it was decided that he should 
study art. He consequently went to Cherbourg and be- 
came a pupil of Mouchel and Langlois. He had been in 
Cherbourg but two months when his father died, and 
he was obliged to return to the plough. However, he 
kept on with his drawing, and three years later the - 
municipality of Cherbourg voted him a subsidy to pur- 
sue his studies at Paris. He accordingly entered the 
Ecole des Beaux Arts there in the studio of Delaroche. 
But he had no sympathy with academic art, and soon left 
the school and began to paint small pictures. In 1848 
he sold his first picture, ‘* The Winnower,” and went to 
Barbizon. His pictures, at first unrecognized, gradually 


gained public attention and esteem, and at the Expo- 
sition of 1867 his reputation was finally assured. He 
finished only about eighty oil paintings in all. He re- 
ceived medals at the Salon in 1853 and 1864, the Grand 
Medal at the Exposition in 1867, and was made Chev- 
alier of the Legion of Honor in 1868. Died in 1875. 


GARDEUSE DES VACHES 16 


THE SURPRISED BATHER 26 


LA NAISSANCE DU VEAU 73 


NICOL, ERSKINE 


Born at Leith, Scotland, in 1825. He began life 
as a house-painter, and while he was thus engaged he 
studied drawing in the Academy in Edinburgh. He 
became, later, the instructor of drawing in the high 
school of his native town, passed some years in Dublin 
as a drawing master and finally settled in London in 
1863. He has long been known as a popular painter 
of domestic genre subjects, many of them of a humor- 
ous nature, and is greatly esteemed as a colorist. He is 
a Member of the Royal Scottish Academy and was elected 
an Associate of the Royal Academy in London in 1866. 


NOTHING BETTER TO DO 76 


CLUB LAW §1 


O’NEIL, G. B. 


This artist is one of a few genre painters whose © 
work lends itself particularly to reproduction. Some- 
what in the vein of the English painters of the eigh- 
teenth century, his subjects often recall those of Wilkie 
and Morland, and are usually popular peg the me- 
dium of engravings. | : 


SAMPLING WHEAT 63 


PALMAROLI, VINCENTE 


Born at Madrid, Spain, in 1835. He studied at 
the Academy of Fine Arts, Madrid, under Frederico 
Madrazo, and later continued his studies in Rome, where 
he became, after some years’ residence, the Director of 
the Spanish Academy there. He is well known as a- 
portrait painter, but more widely recognized, perhaps, 
as a painter of historical genre subjects. He received 
a medal at the Exposition at Paris in 1867. 


A PRETTY MODEL | 84 


PASINI, ALBERTO 


Born at Basseto, Italy, in 1826. He was a pupil of 
Ciceri in Italy, and afterwards a student under Isabey 


and Rousseau in France. After his preliminary studies 
he went to the Orient and spent several years painting 
in Turkey, Persia, Arabia and Egypt, accumulating a 
mass of material and innumerable motives, which he has 
employed to great advantage in the production of his 
vigorous, characteristic and brilliant pictures. He re- 
ceived medals at Paris in 1859, 1863, 1864 and 1867 and 
a Grand Medal of Honor at the Exposition in 1878; was 
made Chevalier of the Legion of Honor in 1868 and 
Officer in 1878. He received many other distinctions, 
and was honorary professor of the Academies of Parma 


and Turin. Died in 1899. 


ENTRANCE TO THE MOSQUE 41 


PECRUS, C. 


Most successful painters of historical genre have 
studied with profit the Dutch masters, and this artist is 
no exception to the rule. He has evidently been much 
influenced by Jan Steen, and his work shows a careful 
observation and a calm patience which were distinguish- 
ing attributes of the Dutch artists. 


THE DOCTOR’S VISIT 36 


PELOUSE, LEON GERMAIN 


Born at Pierrelaye, France. His career has been 
distinguished by a steadily growing popularity which 
has kept pace with his progress, and he has recorded 
many successes in landscape art. He received medals at 
the Salon in 1873 and 1876 and at the Exposition of 
1878, in which year he was made Chevalier of the Legion 
of Honor. Died in 1890. 


EARLY MORNING—FINISTERE eat 


ON THE SEINE y de 


PERRAULT, LEON BAZILE 


Born at Poitiers, France. He was a student at the 
Ecole des Beaux Arts, and a pupil of Picot and Bougue- 
reau. ‘The influence of the latter master has been the 
stronger, and his pictures are often suggestive of him. 
They are painted with conscientious care, and are usually 
life-sized domestic genre subjects. He exhibited first 
at the Salon in 1861, received medals at the Salon in 
1864 and 1865, and was made Chevalier of the Lem of: 
Honor in 1887. 


“WILL YOU HAVE ONE? © 48 


ee 
- 

o 

= 

V2 


Os 


POLLET, VICTOR FLORENCE 


; Born at Paris, France, in 1811. He studied in the 
Ecole des Beaux Arts under Delaroche and Richomme, 
and in the competition won the Grand Prix de Rome in 
1838. His stay in Rome did not seem to have converted 
him to classicism, for he devoted himself as a painter 
chiefly to genre subjects. He received a medal at the 


Salon in 1845, and was made Chevalier of the Legion of 
Honor in 1855. Died in 1882. 


THE CONVALESCENT Z 


PROTAIS, PAUL ALEXANDRE 


Born at Paris in 1826. He was in a sense court 
painter of France, for he was a friend of the Imperial 
family. When he died, the Empress Eugenie sent the 
following message to the brothers of the painter: “I 
am deeply grieved at the death of your brother. France 
loses in him a distinguished artist, and I a faithful 
friend.” His pictures are comparatively rare, and the 
reason for this is given in a letter to an American client, 
written about fifteen years ago, in which he says that he 
has never painted for dealers, but only for public in- 
stitutions and on commissions from private individuals. 


Died in 1890. 


PRISE DUNE BATTERIE ; 94 


ROUSSEAU, THEODORE 


‘Born at Paris in 1812. He was the son of a tailor, 
and, having a taste for mathematics, he was intending 
to enter the polytechnic school, but, fortunately for art, 
he entered the Ecole des Beaux Arts instead, and became 
the pupil of Lethiére. Like many others, he could not 
accept the traditions of the Academy, and, leaving the 
school, went direct to nature. He first went to Fontaine- 
bleau in 1833, and in the following year painted the first 
picture which attracted much attention, the “ Cotes de 
Grandville.” During twelve or fifteen years following 
this success he was unrecognized by the artistic institu- 
tion, and it was not until 1855, indeed, that his repu- 
tation was at last established, and he was properly hon- 


ored as a master of the French landscape school. But 


years of poverty and the weariness of his long struggle 
for recognition had told upon his health, and finally he 
broke down under the strain of his wife’s insanity, and 
under the attacks of his opponents in the profession, 
who bitterly resented his success. He received medals at 
the Salon in 1834, 1849 and 1855, and a Grand Medal 
of Honor at the Exposition in 1867. He was made 
Chevalier of the Legion of Honor in 1852. Died in 


1867. 
LANDSCAPE 43 
THE OAK—SUNSET 46 


PLOUGHING 52 


: 
: 
: 
| 
: 
: 
: 


RUIPEREZ, LOUIS 


Born in the province of Murcia, Spain. He went to 
Paris after having made preliminary studies of his pro- 
fession in his own country, and became a pupil of Meis- 
sonier, whose style he has followed with success. He has 
long been a resident of Paris, and is well known as a 
painter of historical genre subjects. 


THE CARD PLAYERS 27 
FENCING MASTERS 31 
AN INTERESTING GAME 34 


SCHREYER, ADOLF 


- Born at Frankfort-on-Main in 1828. He studied 
first at the Stadel Institute at Frankfort, and then in 
the schools of Stuttgart and Munich. Having inde- 
pendent means, he supplemented his studies by frequent 
and extensive journeys. In 1848 he travelled through 
Hungary, Wallachia, where his family had estates, and 
Southern Russia. In 1854 he followed the Austrian 
army in its march through the Danube principalities, 
and in the following year accompanied the regiment 
commanded by Prince Taxis to the Crimea. He next 
wandered through Asia Minor, Egypt and Algeria, and 
finally settled in Paris, where he became closely asso- 
ciated with French art and artists. He received medals 


ROUSSEAU, THEODORE 


‘Born at Paris in 1812. He was the son of a tailor, 
and, having a taste for mathematics, he was intending 
to enter the polytechnic school, but, fortunately for art, 
he entered the Ecole des Beaux Arts instead, and became 
the pupil of Lethiére. Like many others, he could not 
accept the traditions of the Academy, and, leaving the 
school, went direct to nature. He first went to Fontaine- 
bleau in 1833, and in the following year painted the first 
picture which attracted much attention, the “ Cotes de 
Grandville.” During twelve or fifteen years following 
this success he was unrecognized by the artistic institu- 
tion, and it was not until 1855, indeed, that his repu-. 
tation was at last established, and he was properly hon- 
ored as a master of the French landscape school. But 
years of poverty and the weariness of his long struggle 
for recognition had told upon his health, and finally he 
broke down under the strain of his wife’s insanity, and 
under the attacks of his opponents in the profession, 
who bitterly resented his success. He received medals at 
the Salon in 1834, 1849 and 1855, and a Grand Medal 
of Honor at the Exposition in 1867. He was made 
Chevalier of the Legion of Honor in 1852. Died in 


1867. 
LANDSCAPE “43 
THE OAK—SUNSET eke 


PLOUGHING 52 


at the Salon in 1864 and 1865 and the Exposition in 
1867, the Brussels Exposition in 1863, the Vienna Ex- 
position in 1873, and has been given many decorations. 


Died in 1899. 


A SORTIE | Sg 


SIGNORINI, GIUSEPPI 


This artist, who has devoted himself exclusively to 
costume subjects, has gained a considerable reputation 
for his accurate and vivacious studies of figures, which — 
are executed in the so-called Spanish manner. He is 
one of the group of Italian painters who were strongly 
influenced by Fortuny and his associates. 


A BEDOUIN 19 


SIMONETTI, ATTILIO 


Born at Rome, Italy. He was one of the coterie of 
Roman painters who fraternized with the Spanish artists 
and who followed closely the methods of the school which 
flourished in Rome during the residence of Fortuny in 
that city. He became a friend and a pupil of Fortuny, 
and founded his style on him, confining himself, how- 
ever, to much less elaborate subjects. He was appointed 


professor in the Academy at Naples, and established 
himself in that city. He received the title of Cavaliere 
from the King of Italy, and has gained various other 
distinctions. 


THE DECLARATION 18 


TISSOT, J. JAMES 


Born at Nantes, France, in 1836. He was for some 
time a student in Antwerp under Baron Leys, by whom 
he was strongly influenced, and his first pictures bore a 
very strong impression of his admiration for his master. 
He studied in Paris under Flandrin and Lamothe, and 
spent years in Paris and in London painting scenes of 
every-day life, always investing them with his own par- 
ticular charm. For fifteen years or so he was engaged 
in painting a series of water colors illustrating the life 
of Christ. He received a medal at the Salon in 1866. 
Died in 1902. 


ON THE SERPENTINE 30 


TROYON, CONSTANT 


Born at Sévres in 1810. He worked for a while 
painting porcelain in the manufactory at Sévres, at the 


same time with Diaz and Dupré, and, like them, soon de- 
termined to devote himself to landscape art. He studied 
under Riocreux at Paris, and first exhibited at the Salon 
in 1833. Up to the time of his visit to Holland, in 
1847, he painted landscapes exclusively, and became 
well known in this branch of art. His studies in the 
Netherlands apparently changed his purpose thor- 
oughly, and from that time on he made his landscapes 
subordinate to his cattle. His ** Oxen Going to Work,” 
now in the Louvre, was painted in 1855, and represents 
him in the apogee of his career. He was a legitimate 
successor of Brascassat, but his art has no rival in its 
grandeur of simplicity, virility and serenity. He re- 
ceived medals at the Salon in 1838, 1840, 1846, 1848 
and 1855, and was made Chevalier of the Legion of 
Honor in 1849. Died in 1865. 


CATTLE 91 


TURNER, JOSEPH MALLORD WILLIAM 


Born in 1775. He showed decided aptitude for 
drawing at a very early age, and, after coloring prints 
and washing in backgrounds for architectural drawings 
for some time, became a student of the Royal Academy 
schools at the age of fourteen years. Up to the year 
1802 he was chiefly occupied with water colors, and 
the collection of studies in monochrome, which he called 
** Liber Studiorum,”? in imitation of Claude’s ‘* Liber 


Veritatis,”’? is one of the monuments of his ambition to 


rival this master. From this date on he painted mostly 
in oil, and produced the remarkable works for which he 
is justly famous. He made various trips to Italy, and 
accumulated a large fortune from the sale of his pic- 
tures. He was elected an Associate of the Royal Acad- 
emy at the early age of twenty-four years, and made'a 
Member in 1802. Died in 1851. 


A SOUVENIR OF THE RHINE 9 


VAN BOSKERCK, ROBERT WARD 


Born in New Jersey in 1855. He graduated as an 
engineer in the School of Mines, Columbia College, and 
studied landscape painting under A. H. Wyant. He 
has painted a large number of successful pictures from 
motives found in this country as well as from subjects 
chosen during his frequent trips abroad. He is a Mem- 
ber of the Society of American Artists and an Associate 
of the National Academy of Design. 


SHEEP AND PASTURE 65 


VAN MARCKE, EMILE 


Born at Sévres in 1827. His father was a landscape 
painter of Flemish descent, and his mother a painter of 


flowers. He was a successful art student, and, marry- 
ing early, secured through his father-in-law, who was 
the director of the works at Sevres, the position of deco- 
rator of porcelain, which he occupied for nine years. 
Troyon frequently visited Sevres, made the acquaintance 
of the young porcelain painter and encouraged him to 
study nature. This he finally did, and opened a studio 
in Paris. His early pictures show Troyon’s influence 
very strongly, but the later ones are quite individual, 
and are masterly in drawing, color and arrangement. 
He received medals at the Salon in 1867, 1869 and 1870, 
and at the Exposition in 1878. He was made Chevalier 
of the Legion of Honor in 1872. Died in 1891. 


LANDSCAPE AND CATTLE 8&2 


VERBOECKHOVEN, EUGENE JOSEPH 


Born at. Warneton, West Flanders, in 1799. His 
father was a sculptor, and he began to learn drawing 
from him. Later he studied in Germany, France, Eng- 
land and Italy, and finally settled in Brussels. He re- 
ceived medals at the Salon in 1824, 1841 and 1855, and 
was made Chevalier of the Legion of Honor in 1845. 
He was a member of the Royal Academies at Brussels, 
Antwerp and St. Petersburg, and received many deco- 
rations. Died in 1881. 


EWE AND LAMB 20 


VIBERT, JEHAN GEORGES 


Born at Paris in 1840. He studied at the Ecole des 
Beaux Arts first under Picot and then with Barsias, and 
turned his attention at the outset of his career to his- 
torical subjects. These pictures were not successful, 
and he struck out a line of his own in cynical or in hu- 
morous motives and made a great success of it. He has 
a high reputation as a painter in water colors, and was 
one of the leaders in the movement which resulted in the 
foundation of the Society of French Water Color Paint- 
ers, a powerful artistic organization. He received medals 
at the Salon in 1864 and 1868, at the Expositions in 
1867 and 1878, and was made Chevalier of the Legion 
of Honor in 1870. 


WATER CARRIER a hy / 


VOLLON, ANTOINE 


Born at Lyons, 1833. He was a pupil of the Acad- 
emy of Lyons, but spent most of his life in Paris, where 
he came to study under Ribot. Although he is known as 
the master of the art of painting still life, he has achieved 
great success with figures and with landscapes, which he 
first began to exhibit in 1876. He received medals at 
the Salon in 1865, 1868 and 1869, and at the Exposition 


in 1878. He was made Chevalier of the Legion of 
Honor in 1870, Officer in 1878 and Member of the 
Institute of France in 1897. Died in 1900. 


SETEL ALLIES te 25 


MOISSONNEUSE 102 


WORMS, JULES 


Born at Paris in 1837. He was a pupil of Lafosse, 
and to his careful training is due the conscientious exe- 
cution which is notable in the genre pictures for which 
this artist is famous. He has never left the field of do- 
mestic and humorous subjects, and is well known for both 
his oil and water-color works. He received medals at the 
Salon in 1868 and 1869, at the Expositions of 1867 and 
1878, and was made Chevalier of the Legion of Honor 
in 1878. 


THE CHIDING CUPID 12 


ZAMACOIS, EDUARDO 


Born at Bilbao in 1842. He was first a pupil of 
Balaco in his native town, and then of Frederico de 


Madrazo in the Madrid Academy. While he was still a 


youth he went to Paris and studied under Meissonier, 
becoming an active member of the group of talented 
Spanish painters who were fast making enduring reputa-~ 
tions. He first exhibited at the Salon in 1863, and his 
brilliant costume pictures, full of life and wit, were soon 
the rage. He received a medal at the Exposition in 
1867. Died in 1871. 


A PICADOR 15 


ZIMMERMANN, REINHARD SEBASTIAN 


- Born at Hagenau, Switzerland, in 1815. He stud- 
ied at the Munich Academy of Fine Arts, and was chiefly 
influenced by Robert Eberle. He painted genre pictures 
for a time, and then, in 1844, went to Paris, where he 
passed two years, chiefly in painting portraits. After 
visiting England and the Netherlands, he returned to 
Munich in 1847, and devoted himself to painting genre 
subjects, many of them of a humorous character. He 
was elected a Member of the Berlin Academy in 1886. 


THE CONFESSIONAL 62 


WATER COLORS, PASTELS 
AND SEPIA DRAWINGS 


L. EMILE ADAN 


aise ag q° 


Water Color 


Seated in an armchair beside a table covered 
with tea-things and decanters, an old butler, in the | 
ornate livery of the eighteenth century, leans back 
and empties the remnants of a decanter of white 
wine down his throat. His mistress is Just open- 
ing the door behind him. In the foreground is a 
newspaper hastily thrown down on the floor. 


Signed at the right, L. Eure Anan. 
Height, 14% inches; width, 10 inches. 


" VICTOR rar 


2—THE CONV ALESCENT 
Water Color 


A half-length figure of a young lady in a 
black, fur-trimmed wrap is languidly seated in 
an easy-chair upholstered with mauve silk. In 
front of her is a Japanese table with red-lacquer 
tray top, holding a decanter of wine and a plate © 
of cakes. In her right hand she has a Japanese 
fan. 


Signed at the right, V. Poxter. 
Height, 9 inches; width, 64% inches. 


| 1] dD. 
EUGENE KLIMSCH / 
8—THE CAVALIER 

Water Color 


A cavalier in deep orange-velvet costume, 
with yellow sleeves and blue stockings, is seated 
with one arm around the waist of a serving maid 
who is lighting his long pipe. On a cask behind 
the cavalier are a pewter tankard and a glass of 
sack; in the foreground are cabbages and various 
kitchen utensils. 


Signed at the left, Evckne Kuimscu. 


Height, 5% inches; width, 4 inches. 


THOMAS ee Cog ot 


\ > 4—LANDSCAPE AND CATTLE 
Sepia Drawing 


This is a drawing in sepia of a cow, three 
sheep, and a lamb in sunlight in a broad, open 
country. The sky is simple in design, with a 
few rolling clouds near the horizon, and the dis- 
tance suggests a region diversified by woods and 
low hills. 


Signed at the right, T. S. C. 
Height, 8 inches; length, 10 inches. . 


CHARLES J.. CHAPLIN A, 
Ry, rho 


5—THE BATHER 
Water Color 


A young woman, partly undressed, is stand- 
ing on the edge of a pond in the forest, her head 
turned away as if she heard some one approach- | 
ing through the wood. Behind her on the ground 
are the outer garments she has just thrown off, 
and near at hand is a basket of roses. 


Signed at the right, Cu. Cuapuin. 
Height, 10 inches; width, 6 inches. 


BIRKET FOSTER 


me 


iy  6—A SEASHORE SCENE 
Sse 


Water Col 


On the downs above a seaside village two Ilit- 
tle girls are teaching a young child to toddle 
across the turf from one to the other. Beyond 
the group is a cottage half hidden by the slope 
of the hill, and, farther away, sheep are feeding 
in a field at the edge of a cliff. In the distance is 
a line of blue water with white sails, and over all 
a delicate gray sky. 


Signed at the right, ™B. R.W.S. 
Height, 5 inches; length, 7 inches. 


PaintTeD For Mr. LYALL 


BIRKET FOSTER % ( ' 


7—_MENDING BABY’S CARRIAGE 


4 


Water Color 


A small boy, seated on a stile beside a country 
road in England, is busy trying to repair a 
broken toy cart. In front of him a weeping child 
clings to her elder sister, who, carrying the baby 
on her right arm, watches the boy at his task. In 
the distance are a roadside cottage and a stretch 
of pleasant landscape. 


Signed at the left, B. R.W.S. 
Height, 5 inches; length, 7 inches. 


Partntep ror Mr. Lyatt. 


> a COX g 


8—CROSSING THE COMMON 
Water Color 


A broad, open moorland in Wales with a 
deeply rutted cart-path between patches of grass. 
Two children, one with jug in hand, are strolling 
down the path toward the bend of a brook in the 
foreground. In the distance are houses, cattle, a 
few trees, a line of sunlit hills, and the gleam of 
water. In the sky is a large mass of cumulus 
clouds. 


Signed at the left, D. Cox. 
Height, 9% inches; length, 14 inches. 


Paintep For Mr. Lyatt. 


4 
> 
’ 


“TURNER 


WwW 


Ey 


Se 
7 


pe TE td a! Ai SR Ra teh, SE Ay i DD Naat AB 1, Dats aS, 


i 


ry 9 ead BES ee 


9—A SOUVENIR OF THE . 


Water Color 


The junction of two streams in a gorge 
among: the hills. Ruined castles crown the steep 
crags which overhang the river; a slender tree, 
growing on the rocky bank in the foreground, 
where are seen two kneeling figures, rises against 
the hillside and the sky on the right. In the ex- 
treme distance looms up the form of a high 
mountain. 


Signed at the right, J. M. W. Turner. 
Height, 9% inches; length, 12% inches. 


E. DE a 


[0A Vie 7 


Water Color 


The figure of a maiden half draped in orange 
pink and holding a flageolet in her hand is seen 
seated on a stone step in the midst of a rank 
growth of flowers. In the distance is suggested 
a fertile valley, beyond which the horizon is lost 
in the summer haze. 


Signed at the right, B. pe Beaumont. 
_ Height, 91% inches; width, 6 inches. 


|s0 


o E. DE B eee: 


%y 11—-THE PARROT 
Water Color ' 


; The nude figure of a young girl is seen sitting 
on a pile of draperies thrown down carelessly on a 
red-tiled floor. She is swinging by a string at- 
tached to his perch a red parrot, balancing in a 
ring hung from the ceiling. Behind her is a 
yellow curtain, and on the floor near by is a pair 
of green slippers. 


Signed at the right, E. pp Beaumont. 


Height, 9 inches; width, 6% inches. 


on My S WORMS J 0 


12—THE CHIDING CUPID 


Water Color 


Before a seated figure of Cupid on a simple 
pedestal stands a girl inSpanish costume of black- 
ribbon headdress, yellow jacket, and blue petti- 
coat. A carved swag decorates the wall behind 
the figure, a richly upholstered chair is half hid- 
den by the dress, and a plant in a glazed pot 
stands beside the pedestal. 


Signed at the right, J. Worms. 
Height, 14% inches; width, 10 inches. 


= MAURICE Ae 


ty 18-—THE FAIR ANGLER 
Water Color 


A young lady has tied her boat to a tree over-_ 
hanging a broad, quiet stream and, half kneeling 
in the stern of the boat, she holds her fishing rod 
and languidly watches the float in a bit of open 
water among the lilies near the bank. She is 
dressed in a red-striped dress, and a blue and 


gray rug hangs over the side of the boat near the 
bow. | 


Signed at the left, Maurice Letom, 1885. 
Height, 10 inches; length, 144% inches. 


Patntep For Mr. LYALL. 


7 MAURICE ELOIR | 


Be erpive | HE PIGEONS 


Water Color 


In a garden rich with flowers, where stands 

a statue of Leda and the Swan on a low pedestal, 

a young lady has thrown herself on the grass to 
feed the pigeons which flutter around her. She 
wears a pink silk sun-bonnet and a salmon pink 
dress, with a black shaw] falling around her hips. 


Signed at the right, Maurice Letom, 1885. 
Height, 10 inches; length, 14% inches. 


PatntTep For Mr. LYALL. 


\ 15—A PICADOR © 


a> EDUARDO ZAMACOIS 


Light, Cdhy 


Water Color 


This is a study of a stalwart Spaniard dressed 
as a picador in broad-brimmed hat with rosette, 
a flowered jacket with silver ornaments, yellow 
breeches, and thick leather leggings tied with 
red cord and tassels. Over his right shoulder he 
carries his pike. 


Signed at the left, Zamacots. 
Height, 11% inches; width, 8 inches. 


VACHES 


i 
g 
Q 
as 
s 
ag 
QA 
S 
S 


BY 
JEAN FRANCOIS MILLET 


rae a xepe sr pete Bs [ 3 


OA 


ow JEAN rE Ae LLET 


@ 


146—GARDEUSE DES V ACHES 


Pastel 


A peasant girl in blue jacket and petticoat, 
with her head and shoulders covered by a white 
shawl, is seated on a little knoll busy with her 
knitting, while a friendly cow is grazing close at 
hand. In the distance is a village, with a rank of 
tall, slender trees beyond an open meadow. 

1b ib yD Ss 
Signed at the oS J. F. Mrvret. 
Height, 11% inches; length, 17% inches.. 


na fl 
The me 


ier 
ror 
+ 


J,, G. VIBERT 


“27—WATER CARRIER 


Water Color 


A young man in white shirt and full petticoat 
breeches, a red sash and sleeveless jacket and 
orange turban and socks, stands holding a green- 
glazed jar while he is waiting for a second recep- 
tacle to fill with water from a bronze tap in a 
rough brick wall. 


Signed at the right, J. G. Visert. 
Height, 14 inches; width, 10 inches. 


Y, 


NS 


mae oMoNm oI 


A, 18—THE DECLARATI a 


Water Color 


Hl Stretched at full length on a sofa in an atti- 
tude of careless ease is a young lady in Spanish 
dress, shading her eyes with a small fan, while 
an old beau, flower in buttonhole and hand on 
| heart, leans over the sofa behind her. ‘The acces- 
sories are a leopard skin on the floor, tapestries 
on the wall, a gilded table with silver ewer and 
china cup, and a rich screen and curtain. 


Signed at the right, Arriio Stmonertt, Roma, 1874. 
Height, 14% inches; length, 18% inches. 


4 A 
4 /GUSEPPL/SIGNORINI qv 
: 19—A BEDOUIN a 


Water Color 


A stalwart Bedouin is standing like a sentinel 
in the desert, with his long gun held in port 
position across his body. ‘The brim of an im- 
mense hat, lined with red stuff and embroidered 
with barbaric patterns, frames his head with a 
mass of color almost as large in proportion to the 
figure as an open umbrella. 


Signed at the right, Gruser StcNortnt. 


Height, 27 inches; width, 17 inches. 


OIL PAINTINGS 


| Sy KHOVEN | 64 


| 202—EWE AND LAMB 


A study of a freshly sheared ewe, who stands, 
half ashamed of her appearance, on a bit of rough 
ground near a rude fence. Her lamb lies in 
front of her, and a butterfly has just alighted on 
the ground beside her. 


Signed at the right, Euctne VersoecKHoveN, 1847. 
Height, 4% inches; length, 5% inches. 


Pr o3¢9.?PAUL oe in 


21—MOTHER’S PRIDE 


A peasant woman in dull pink jacket, red 

kerchief, blue apron, and striped green petticoat 
| is seated on a bench in a rustic courtyard peeling 
Ls cucumbers. Beyond her, equally relieved against —__ 
hs a sunlit wall, is her child, with a doll and various 
i toys. On the left is a gate in the rough wall and 
| on the right a string of drying leaves. 


Signed at the right, Paut Boum, MUncuen. 


Height, 6 inches; length, 8 inches. 


DAVID JOHNSON { | () | 


pa? + ESOPUS CREEK 


A typical bit of American river scenery in 
summer time, with a great clump of elms over- 
hanging the water and cattle seeking the shade 
or cooling themselves in the stream. In the dis- 
tance is a humble farm-house, and across the 
river are flat meadows and woods. 


Signed at the left, p 76. 
Height, 6 inches; length, 8% inches. 


23—_SHEEP 
WwAtemnr 


A farm scene with a flock of/sheep, some of 
them feeding, others lying down in the shadow 
of a tree. Here and there are friendly barn-yard 
fowl. In the background is the farm building, 
where a cackling hen interrupts the peace of the 
hour, and beyond is a suggestion of meadows and 
hills. 

Signed at the left of centre, Cu. Jacque, 1867. 
Height, 6 inches; length, 7% inches. 


CHARLES EMILE “7 Ny Sot 


I — 


‘\/ * 


tan 


‘\ » RAIMUNDO wis Lo 


A GUITAR-PLAYER 


This is a study of a Spanish guitar-player in 
a typical costume of blue and black, seated in a 
chair with his left leg thrown back, and holding 
with his left hand his ribbon-bedecked guitar, 
resting upright on his left thigh. 


' Signed at the upper left, R. Mavrazo. 
Height, 8 inches; width, 4% inches. 


Grorcr I. Seney Coxtection, 1885. W? HY. #43267 kh | 


é ae 
| iy. 

* . 

ah, ; 

” - - ale 

é 

' 

¥ 


Pgs ANTOINE VOLLON | 


Yo 
4 26—STILL LIFE al 


A richly painted jar on a metal base, a bunch ~ 
of violets lying on a yellow book, and an old 
gold watch and fob casually placed on a piece of 
deep green velvet gave the variety and richness 
of color, texture, and form which attracted the 
artist to paint this bit of still life. 


Signed at the left, A. Votion. 
Height, 9% inches; length, 12% inches. 


: 4, Wo 


. BRANGOIS ced )9 be 


| 26-—THE SURPRISED BATHER 


A half-crouching nude woman is seen forcing 
her way through a tangle of tall reeds, in the 
shelter of which she has apparently been bathing 
in fancied security from observation. The flesh 
is strongly accented in light and shade and is 
solidly relieved against a deep shadow in the 


masses of gray green. A 2 ‘ 


Signed at the right, J. F. Mrtzer. 
Height, 7 inches; length, 9 inches. 


S oe Cl lath 


27—THE CARD PLAWERS 


A group of three men interested in a game 
of cards played between two of them in a su- 
perior sort of a cabaret with wainscoted walls 
mellowed by the wear of years. The players are 
seated at a table, and one of them is referring a 
doubtful point to a friend who stands behind, 
pipe in hand. On the table are a few cards, a 
coarse-glazed pitcher and a glass. The sole deco- 
ration of the interior is an engraving in a black 
frame. 


Signed at the right, Ruirrrez, 1861. 
Height, 10% inches; width, 8 inches. 


vr 
ps 


- ANTON 


ey | 
50 ANTON MaUye j 


28—CATTLE AND LANDSCAPE / 


The sky occupies two-thirds of this composi- 
tion, and across it stretches a low band of clouds 
broadening to the upper left-hand corner of the 
canvas, suggesting the moist atmosphere of the 
Netherlands. A wide meadow reaches away to a 
low line of distant trees, and here and there peas- 
ants at work indicate the busy season of the hay 
harvest. In the near foreground are two cows, 
the focus of the picture. 


Signed at the righi. A. Mauve. 
Height, 9 inches; length, 14% inches. 


role? Aan aah 
Gt yn 
228 oA Bev 


————— 


FERDINAND Pe UTH 


‘ 

ij 

re. | 
i, 

« iM 

' 

w 

/ i i 
1 

i 

iid 


On the soft grass carpet of a field sloping to 
the river from the garden of a summer residence, 
a mother, in black gown and hat and a white 
wrap, sits, holding a small child in her lap. Near 
by lies a brown dog half hidden by the rank 
grass. Beyond the little group are a rose bush 

covered with pink blossoms, the corner of the 
house with trees, and a stretch of distant river 
landscape. 


4 


a / 


6 : —— 7 a 
ai Se aml fas : 

~ Ie Oy ee 3 ibe. aaa 
Bae. = 


| & 29—IN THE GARDEN 


Signed at the right, Wermsurs. 
Height, 11 inches; width, 7 inches. 


s 


380—ON THE SERPENTINE 


This subject was evidently suggested by a 
walk in Hyde Park on a summer afternoon. In 
the foreground are a lady and a little girl leaning 
against the iron railing along the terrace over 
the water, and a man seated on a lawn bench. 
In the distance is a high-arched bridge with foot 
passengers and the familiar hansom, and, below, 
the quiet water reflects the arches and the great 
trees beyond. 


Signed at the right, J. J. Trssor. 
Height, 11% inches; width, 8 inches. 


L. RUIPEREZ 


YS Walle 


a ee eR - _ 


'31—FENCING MASTERS 


The title indicates that the artist did not in- 
tend to represent a scene of actual conflict, and 
therefore we do not look for dramatic action or 
a suggested tragedy. In a vaulted guard-room 
of an old chateau, seven men-at-arms, in a variety 
of military costumes, are passing a leisure hour 
with a fencing bout between two experts. The 
masters are evidently rehearsing a parry, the re- 
sult of which is not so doubtful as to attract the 
interest of a pair who are playing cards on a 
bench in the background. 


Signed at the right, Rurprrez, 1865. 
Height, 10 inches; length, 13% inches. 


é i Bigecd} oe 


382—A TURKISH SOLDIER 


A study of a Bashi-Bazouk, or irregular sol- 
dier of Turkey, in full costume, drawing his 
yataghan with his right hand and in his left hold- 
ing his long flintlock, much ornamented gun. He 
wears a tall red fez with fringed kufia, a blue 
jacket, a red sash with broad leather belt, white 
breeches, and black gaiters. The background is 
a plain gray wall. 


Signed at the right, L. Fasron. 
_ Height, 13 inches; width, 7% inches. 


EMILE LAM MBINET 


Orth Wgr— 


—LANDSCAPE 


Four tall plume-like trees, reflected in a sheet 


of water, rise against a late afternoon sky which 


is covered by lowering clouds. Beyond the trees 


___ are a meadow and a single house, and on either 


side of the pool are clumps of willows and reeds. 
fs © ‘ia Ave 


Signed at the right, Eun Lamsrer. 
Height, 11 inches; length, 154 inches. 


84—AN INTERESTING GAME 


Ae. L. RUIP Pe ho 


A French . interior with simply decorated 
walls, a fireplace with garniture and mirror, and 
| an Aubusson carpet. ‘Two friends in the costume 
| of the end of the eighteenth century are seated 
at a table absorbed in a game of backgammon, 
while a third gentleman in a red coat is leaning 
over a chair watching the game. 


Signed at the left, JurPEerez. 
Haigh, 12 inches; width, 9 inches. 


=. 


| 35 THE SEW 1G LESSON 


i. ee ey. 


This is a simple domestic scene, where a 
mother, in red kerchief, blue dress, and pink 
apron, is seated in the full light of the window of 
a modest interior, teaching her little daughter the 
rudiments of sewing. 


Signed at the right, Darcetas, 1866. 
Height, 14 inches; width, 10% inches. 


~~ 


 86-—-THE DOCTO 


° Ee 


VISIT 


A Dutch interior in the middle of the seven- 
teenth century, with walls of Spanish leather, a 
hooded fireplace, and furniture of the period. An 
invalid lady in a red jacket and yellow petticoat 
is seated in an armchair, while the doctor in som- 
bre suit of black velvet is feeling her pulse. On 
[| the left sits the husband, and behind stands the 
nurse holding a porringer. 


Signed at the right, C. Pécrus. 
| Height, 13 inches; width, 10% inches. 


APTISTE MADOU 


JEAN B 


ym 


oe) 


ibe 


ee 


ppl sieintattss 


+ 


r 


y\) ‘JEAN BAPTISTE, MADOU , 


f 
37-THE SMOKER be 


An old man in a broad black hat, a ruddy — 
brown coat, gray waistcoat, and blue breeches is — 
seated, facing the spectator, stick in hand and 
short pipe in mouth. On the floor beside him is 
a pewter mug, and the background is a simple 
gray wall with a door at the right. 


Signed at the left, Mavovu, 1871. 
Height, 10 inches; width, 74% inches. 


E BOUDOIR. 
BY 
GIOVANNI BOLDINI 


: 
F 
p 
ae . 
y 7 ; 
i 
; 
- 7 md - 
: 
> \ 
‘ My g 
oe 
a> + - ' “ 
ey 
Fe ee ge ee ‘ 
T', yggia eae : 


< 


\x 88—THE BOUDOIR N 


GIOVANNI Cyn 


A young lady in a rich soft blue gown, with a 
profusion of lace and ribbons, is seen in her bou- 
doir, apparently surveying herself in a murror, 
part of which appears in the picture above a richly 
gilded table. Over her right arm, which is 
gracefully supported by a long malacca stick, is 
draped a black silk mantle. The surface of the 
polished floor is broken by reflections of the wall, 
of the furniture, and of the figure itself, and the 
notes of red in the flowered gown are repeated in 
a vase on the table. 


Signed at the left, Botp1n1. 
Height, 12 inches; width, 9 inches. 


pres 


4) ee DUPRE. 
AA eNY / 
\ 39—THE COMING STORM | /] 


The vivid light from the setting sun has burst 
through the storm clouds, flashing on their 
jagged edges and repeating part of its bril- 
hancy in the reflections in a small pool in the 
foreground. The landscape is simple and som- 
bre, with a single building, an isolated tree, and 
a figure or two on a broad path which leads across 
the sandy ground to the pool. 


Signed at the left, Jutes Dupre. 
Height, 12 inches; width, 14 inches. 


Rosert Graves CoLLEcTIoN, 1387. f° af. 4, 3 
ee {* Berrien 
YVoSe 
2, Ats*. » Ba Cow 


fow o4é 


ee ey ype 209 
oe os 


‘40—GRANDFA THER’S PRESENT 


In a humble interior toward the end of the 
eighteenth century, a mother, with a child on her 
lap, is seated in the middle of a family group. 
The grandfather, leaning on his cane, is holding 
a toy horse just out of reach of the child, while the 
father and the half-grown daughter look on with 
interest. ; 


Signed at the left, Mavov. 
Height, 14% inches; width, 12 inches. 


_ Georce I. Seney Cotection, 1885 ff Bee ef # fn, yf C = 


O Ceram 
A Ae 


41—ENTRANCE TO THE MOSQUE 


The corner of a partially arcaded courtyard 
in the Orient, with a white gateway making a 
strong note in the line of rich-colored roofs and — 
spandrels on either side. A few figures are re- 
lieved against the sunlit walls and the gloom of 
the entrance; a gray Arab horse with attendant 
natives stands in the foreground to the left, and, 
beyond the screen of arches and gateway, a group 
of trees on the one side and the dominating mass 
of a mosque with its minarets come out strongly — 
against a simple blue sky. 


Signed at the right, A. Pastni, 1878. 
Height, 12% inches; length, 16 inches. 


J. Asner Harper CoLtection, isso. 42 [07 - 4. ade 
Abd Kew 
a? 


BY 


N 
a 
A 
A 
= 
a 
ce 
= 
a.) 
RM 
Ww 
i | 
© 
aes 
=a 
Zz 


(o,f 
 WARCISSE VIRGILEEI 
\° | 


42—FOREST OF F ON TAINEBLEAU 


A remote nook in the forest, with groups of 
hardy trees and a canopy of dense foliage, 
through which, in the distance, is seen a sugges- 
tion of summer sky. The light from behind and 
above the spectator falls sharply on the rough 
tree-trunks, here and there in the confusion of 
undergrowth and grass, and on small pools of 


water and a gray boulder. Sas 
Signed at the left, Vente Diaz. ya) @ u 


Height, 12 inches; length, 15% icehes. 


HL Ket iSso 


BY 


THEODORE ROUSSEAU 


\ 


)° THEODORE ROUSSEAU ~ 


48—LANDSCAPE J. rN \ | eat 


A gently sloping hillside covered with sturdy — 3 


oak trees and rough boulders is touched by a 
strong flood of warm light from a late afternoon 
sky, which brings out the red tones of the autumn 
foliage and throws a deep shadow over the fore- 
ground. To the right, against a sunlit meadow, 


is the figure of a peasant woman, and in the dis- _ q 


tance beyond the meadow is a rank of dark trees 
and a line of blue hills. The sky is broken by 
warm gray clouds alternaty g with patches of 
pale blue. - 


Signed at the left, Tu. Rovsseav. 
ae" 12% inches; length, 14% inches. 


~~ 


ca 
= 
=) 
23 
en 


| yr 7 JULE PRE 


are 
44—SUNSET 


Low-lying meadows, with a quiet bit of water — 4 
in the foreground echoing the tones of a sunset 
sky; the mass of a great oak rises on the right; 
to the left a farm-house among the straggling 
trees, and the figure of a woman in a boat is re- 
flected in the water near the middle of the pic- 
ture. The light from the sun, which has just 
dipped below the horizon, defines the long lines 


of clouds and diminishes in vigor until it loses it- 7 
self near the zenith. dbl, i, — “4 
; Prod ( a x | 


v 
u” 


Signed at the left, J. Dupre. ; 
Height, 12 inches; length, 18 inches. 


#ho- 


BY 
JULES DUPRE 


NE ny 


Rate ULES 


43—A BRITTANY FARM 


A thatched cottage in a gladed country, with 
rounded masses of large trees and a bit of open 
ground with a winding path leading to shady — 
meadows in the distance. The peasants are busy 
at their out-of-door occupations, and restless fowl 
are seeking food near the cottage. | 


Signed at the left, Jures Dupré. 
Height, 8% inches; eaihe 16 inches. 


BY 


- THEODORE ROUSSEAU 


THEODORE ROUSSEAU 


v ~ 
f\ 46—THE OAK—SUN. 


A sunset with a riébly tinted sky, against 
which a rugged, lee a is in full relief, 
perched on a rocky eminence. Beyond is a glint 
of distant water in a rough country, and in the 
foreground is a broken heath with boulders and 
ragged undergrowth. 


Signed at the right, Tu. Rousseau. 
Height, 12% inches; length, 16 inches. 


tAken | 


i 
© 
as 
© 
Ss) 
S) 
a 
= 


ry Sor 


ye J. B. C. COROT 


A corner of a daisy-sown meadow, where a 
peasant woman is watching her cows. Against 
the sky on the left, and casting mysterious shad- 

a 0 ows on the rich grass, rises a line of slender trees, 
\\ \o \- 4-which is continued in perspective across the mid- 
“ev dle distance, where, through openings, is caught — 
a glimpse of the sea and of a low headland 
against a glowing sky. 


Signed at the left, Corot. 
Height, 17% inches; width, 14% inches. 


a 
+ i 


48—" WILL YOU 


E ONE?” 


This is a life-sized head and shoulders of a 
curly-haired, dimple-faced child who holds an 
orange tightly clasped in both hands, as if afraid 
her invitation would be accepted. A simple, 
dark, indefinite background relieves the head and 
figure. 


Signed at the upper left, L. Perravtr. 
Height, 154% inches; width, 13 inches. 


— 


i) \S MAURIC i Ry 
1S. 
49—THE FAREWELL 


A young lady in a pink dress stands in the 
doorway of an old chateau throwing a kiss to her 
lover, who, having just left her, has crossed a 
tangled flower-bed and is clambering over a wall 
near the corner of the house. The costumes are 
toward the end of the eighteenth century. 


Signed at left, Maurice Letom. | 


Height, 174% inches; width, 14% inches. 


Tuomas Rem Co.LiEctTiIon. 


RAMAPO 


Ar 


FROM NAT 


aS DAVID JOMUNSON- 


50—STUDY FROM NATURE, RAMAPO 04 


A summer afternoon in a pleasant, rolling 
country, with a sky full of slowly moving cumu- 
lus clouds. There are hills beyond a distant sheet 
of water and a dense wood bordering a flower- 
strewn meadow, with here and there a large tree, 
near one of which is a small group of figures, 
suggesting the proximity of a country residence. 


Signed at the left, D 76. 
Height, 1314 inches; length, 21 inches. 


52 East 23d Street, February 18, 1890. 
Dear Mr. Lyall: I write to express my thanks and gratification 
at the selection you have made in your purchase at my sale, 
“ Meadow at Ramapo.” 

- You may be pleased to know that it was one of my pets, and - 
regarded by me as one of the most entirely successful studies 
from nature I have ever made. I am more than delighted that it 
has found such friends for a resting-place. 

Sincerely, 


(Signed) DAVID JOHNSON. 


QUES HENNER 


rac 


4 


re 


pear, Sexes, 


ln hl Dal aly et 


Aree, EN 


ye 3 JEAN TAC HENNER 
51—PENITENT MAGDALEN Ve 


In the gloom of a cavern, or a deep rocky ra- 
vine, under the strong light from above, the fig- 
ure of an auburn-haired young woman, nude to 
the waist, with blue drapery tightly wound 
around her legs, crouches with her head in her 
hands. She is seen in profile, and, above and be- 
yond her, through an opening in the rock, ap- 
pears a small patch of simple blue sky. 


Signed at the left, HENNER. 
Height, 16 inches; width, 12% inches. 


.° THEODORE ROUSSEAU , | 
\v OL 
h 52—-PLOUGHING ‘ 


Through a narrow rift in a stormy sky, where 
- the brilliant sunset ight breaks through near the 
horizon, comes a strongly reflected glow which, 
in the mystery of gathering twilight, touches 
sharply a great white farm-horse drawing a 
plough held by a peasant. Among the great 
clods of newly turned earth is seen the stooping 
or kneeling figure of a peasant woman, and be- 
yond are green meadows bordered by woods, with 
here and there laborers at work. The strong blue 
and red trappings of the horse make a focus of 
intensely deep and rich color. The foreground, 
which is divided by a rough path, is covered with 
strongly growing weeds and wild flowers. 


Signed at the left, Tu. Rousseau. \A‘ wee 


Height, 15 inches; length, 18 inches. 


Ned Cacti d rR 


S DAUBIGNY 


[ERE 


v 


Col 


\RLES FRAN 


‘ . . ™" 
cee ae Ra EN a gE Fi MEE TSI Al Ent TOs 


D4 


| g? — C. F, DAUBIGNY 


» _ 63—BORDS DE RIVIERE ee | 


Vor ¥ 


This is an aia corner of a f: Ree country, 


where a broad pool fringed with trees reflects a : 
summer-morning sky. On the left a peasant — 
woman is washing clothes at the water’s edge, 


and another is standing near by on the gently — 
sloping, grassy bank, holding a red cow. 


Signed at the left, Dausieny, 1869. 


Height, 12% inches; length, 23% \ inches. 


OnrMlik pA 


AUTUMN 


P 


JULES DUPRE 


| " ee OEE All 
\ 54—LANDSCAPE—AUTUMN oe 

A group of sturdy oaks, the advance guard 
of a forest, occupies the middle of the composi- 
tion in silhouette against an early autumn sky, 
where patches of intense blue break through the 
masses of rolling clouds. In the distance is the 
dense and sombre forest, and the foreground is 
enriched by ruddy-hued undergrowth. A gleam 
of strong light touches the figure of a peasant 
woman on the left, flecks the surface of a small __ 
stream beyond, and accents the prominent tree- _, 


AAA G 
Signed at the right, Jures Dupre. Cwadd : 


Height, 16% inches; length, 23 inches. 


R. BRASCASSAT 


J 


ade 
ee 


5 


a” sos. R. BRASCASSAT 
\ Ae 


55—BULL AND DOG | ; 


A black-and-white spotted bull, teased by a 
large tawny-colored dog, is endeavoring to strike i 
his tormentor with his horns. With lowered 
head, and angrily pawing the earth with his near 
foot, he faces his active antagonist. In the back- _ 
ground, to the left, is a clump of trees, in the 
shade of which a flock of timid sheep is scamper- 
ing away. . 


Signed at the left, R. Brascassat, 1858. 
Height, 15% inches; length, 20% inches. 


Henry Prosasco Coiztection, 1887. We “of - thy 


North Wales 


rig, 


Cu 


' 


Ceae 


56—STORMY WEATHER: : 
CAPEL CURIG, NORTH WALES 


ye BW a 


A scene among the low, rugged Welsh hills, 
| where a rapid stream runs between low banks 
and is met by a foaming tributary just below a 
| | rude stone bridge. A farmer is driving a herd of 
black and white cattle across the bridge and a. 
fisherman with his boy and a dog is seated on the 
river bank. Low clouds drive « over the hills and 
threaten rain. 


1 Signed at the left, B. W. Leaver, 1885. 
Height, 18 inches; length, 26 inches. 


Paintep For Mr. LYALL. 


DAVID 2 


| 67—LANDSCAPE 


“ Softly the evening came. The sun from the eastern horizon 
like a magician extended his golden wand o’er the landscape.” 


Through a park-like country a herd of cattle 
is seen wandering at sunset toward a pool in the 
foreground. Under the great rounded trees in 
the middle distance, which form the chief feature 
of the composition, are seen the stragglers of the 
herd, and on either side are vistas of a wide dis- 
tance with frequent clumps of large trees. On 
‘the right, moving along a track which winds 
away over the broken ground, are laborers and a 
farm cart. 


Signed at the right, D. 
Height, 18 inches; length, 26 inches. 


25% 


Beats ERANGAL ee 


58—ENVIRONS DE ROME—SUNSET 


The Roman Campagna, with the noble lines 
of its low hills and plateaus, its arid wastes and 
its poisonous marshes, has fascinated many art- 
ists. Francais shows in this picture a small reach 
of the sluggish 'Tiber, a rough bank with shep- 
herds and a flock of sheep in the foreground, and, 
across the river, a hill and a scorched, low plateau 
with a castle-like building. In the remote dis- 
tance is the mountain range in the mauve haze of 
late afternoon, when the new moon is just visible. 


Signed at the left, Frangais. 
Height, 16% inches; length, 25 inches. 


Paintep FoR Mr. LYAtt. 


JEAN 


" ? 
; z 


or 
AS) 


CHARLES CAZIN 


2 4 FL | _ 


JEAN a SA ZIN 


59—MON JARDIN 
Kee: We bY. 4 SES 
This is a study of a corner of the artist’s own 
garden, enclosed by a tile-topped wall with an 
espalier and a tall, irregular hedge of trees. On 
the left is the corner of the house, with daffodils _ 
growing near the base. Lines of garden paths 
divide the vegetable beds, and the figure of a 
laborer is seen in the background. 


Signed at the right, J. C. Cazin. 
Height, 18 inches; length, 21% inches. 


ors ‘DAUBIGNY | 


| 


5 


, 


Y 


Mie ¢ we | . | 


seer ‘ yi So 2 


ke &S <a 
RO4, 


The sun is Ee behind an irregular line bP } 


trees on the left, which form the furthermost 
limit of a broad expanse of water. On the right 
is a slight elevation above the marshy borders of 
the river, with two cottages and a group of slender 
trees, underneath which are two peasant women, 
one kneeling by the water’s edge. Four ducks, 
paddling in solemn procession toward the sunset, 
form a prominent feature in the near foreground. 


Signed at the right, Davusicny, 1874. 
Height, 15 inches; length, 26 inches. 


New York, Saturday, May 7, ’87. 
D. C. Lyall, Esq.: 

Dear Sir: My friend and myself spent a delightful hour in 
your gallery this afternoon, and I wish to return our thanks for 
your courtesy. 

Among many beautiful pictures in your collection, upon the 
possession of which you are to be congratulated, there is one of 
the most exquisite Daubignys I have ever seen. It is the small 
green one on the right of the gallery. 

My friend, who lives in Paris, and is familiar with every pri- 
vate collection of note in that city as well as in London, said, “ It 
seems strange to come to New York for one of the best Daubignys 
ever painted.” Very sincerely yours, 

W. H. FULLER. 


pita ka 


NCOIS DAUBIGNY 


me 
i & ‘13 


\  61—TWILIGHT 


C. F. DA IGNY 
PAG 


A screen of tall poplars and other stately 
trees is massed in the middle distance on the right 
against a low-toned evening sky. On the left is 
a gently rolling meadow, a distant village, anda 
low line of hills. A peasant woman is driving — 
her cows over the meadow to water them at a 
great pool which stretches across the foreground, _ 
its calm surface, broken by weeds and rushes, 
reflecting the tree forms and the multitude of 
varied rich tones of the clouds. | 


*L 


ale 


Signed at the right, DavBicny, 1874. henner 
Height, 15 inches; length, 26 inches. 


Res, Z NN | SU. 


( uy : Sey Se ae 
62—THE CONFESSIONAL 


In the corner of an old sacristy, with a painted 
wooden confessional grating in the wall, a peas- 
ant woman in blue jacket and full, striped apron 
over a black petticoat kneels with clasped hands, 
apparently confessing some sin to a Capuchin 
monk who, breviary in hand, is busy preparing 
for mass. The floor is of red tiles, and besides 

_ the confessional, and a great painted cupboard 
which occupies the left of the picture, there are 
many other accessories, mostly articles used in the 
celebration of mass. 


Signed at the left, R. S. ZIMMERMANN. 
Height, 17 inches; length, 24 inches. 


Senator LarHam Cottection, 1878. W- Sf Fi 


I 
683—SAMPLING WHEAT ~ E. 

A little episode of village life. Onabenchin — 

front of a rural barber’s shop a well-to-do farmer, _ 

with his collie dog by his side, is seated between _ 

two laborers and is winnowing on a newspaper _ 

spread over his knees a head or two of wheat 

which he has selected from a bunch offered him _ 

by a little girl who has been gleaning after the 
harvesters. In the shop are seen the barber and 


his customer. Other accessory figures find their 
places in the shadow along the street. 


Signed at the right, G. B. O’Nett. 
Height, 18% inches; length, 23 inches. 


rs 


MBIERES- 


- PLO 


OIS LOUIS FRANGAIS 


RANC 


= 


Po F. L, FRANCAIS 


—\.8 environs DE PLOMBIERES 


This is a scene of characteristic severity of as- 
i pect. On the right a highway crosses a stone 
i bridge in the shadow of bordering trees; toward 
| the foreground a river winds and disappears un- 
i der the arch. To the left, in contrast with a deep 
iq shadow on the grass slopes, is a hillside in the 
glow of late afternoon. The steam from an ap-- 
proaching railway train, which is almost hidden 
by the foliage, gleams among the trees. There 
are pedestrians on the highway, peasants in the 
fields, and a flight of birds across the simple ex- 
panse of sky. 


Signed at the left, Francais, 1886. 
Height, 164% inches; length, 25% inches. 


| VA OSKERCK | cv | 
me Kh. NB R 


-65—SHEEP AND PASTURE 


This shows a wide vista over a gently rolling 
vale leading to the sea. The foreground is all in 
shadow, and sheep, newly sheared, browse under 
low trees beside a curving path. In the sunlit dis- 
‘tance are straw stacks, farm-houses, and the lines 
of enclosed fields, and far beyond is the blue 
| stretch of the sea, with white sails and a peaceful 
¥ sky. 


Signed at the left, R. W. Van Bosxercx. 
Height, 19 inches; length, 2942 inches. 


66—LANDSCAPE 


‘\ LO ST ata rb 


| A winding country road, which crosses a shal- 
| low brook in the foreground, leads away toward 
| an avenue of great trees which extends far into 
the distance. On the left is a vista of open 
country, with a mass of rolling white clouds in 
the sky piling up from the horizon. 


Signed at the right, L. S. Capat, 1888. 
Height, 19% inches; length, 23 inches. 


’ ParnteD For Mr. LYAtt. 


ING—FINISTERE — 


‘ ’ > 


Se oe 


LEON GERMAIN PELOUSE 


( Uy LEON a are rn ele ' 


67K ARLY MORNING—FINIS TERE 


Against a simple gray sky and the mass of 
a distant range of wooded hills are opposed the 
shadows thrown by a flash of sunlight on a clump 
of trees overhanging a building and on the shrub- 
bery of a steep hillside along a country road. On 
the left a placid stream, with marshy banks, 
stretches away among the trees, and in the road, 
which with a sidepath breaks the mass of the 
green turf, are several peasant women. 


Signed at the right, L. G. PEtovuse, ’88. 
Height, 18 inches; length, 25% inches. 


PatntTep For’ Mr. LYALL. 


GEORGES MICHEL 


ay GEORGES MIC 
np v Wer 
\ 68—LANDSCAPE 


This is a wide prospect over the valley of the 
Seine, showing a populous and fertile country. 
The sun bursts out from behind dark clouds with 
a broad flow of light which illuminates the dis- — 
tance and sweeps across the sky to the horizon. __ 
The foreground, with small groups of trees, farm 
buildings, cattle, and a peasant’s cart, is mostly in 
shadow, with a note of strong light here and 
there. 


Height, 21 inches; length, 24 inches. 


| ( JULES HEREAU j 


\ LN 


69—A SHEPHERDESS f : 


A peasant girl with her sheep-dog stands, — 
half leaning 6n a stout stick, while her flock of 
sheep, behind and beyond her, crop the short, 
mixed verdure of a wide meadow which extends — 
far away to a low distance, suggesting a fertile 
country with frequent farm-houses. A flock of 
birds soar up against the sky. 


Signed at the right, Jutes H¥reav, ’67. 
Height, 22 inches; width, 16 inches. 


INSCRIBED ON THE BACK: “ PEerINT PouR M. Wo.FFr PAR JULES 


HEreEav, 9 rvE Dvuperre, Paris, 1867.” 


YER 


we : 
i Pee, rates ¥ 5 aot tees 


aye ¢ 


a) 


np J.G. MEYER\V" Cpe EN 


heey TION 
A. KC <Cp, Ne Crrn fa 


A German country maiden, dressed in a red- 
striped petticoat, pale blue apron, brown gray 
jacket, and dull yellow kerchief on head, is sit- 
ting on a boulder by the seashore. She rests her 
forehead on her left hand and in her right she 
holds a pink rose. The episode of an absent lover 
is still further suggested by a view of the sea on 
the right of the picture. - 


Signed at the left, Meyer von Bremen, Berry, 1880. 
Height, 22 inches; width, 16 inches. 


B. C. COROT 


es 


\) a. BC. CO 
71-THE FOREST PATH ~~ 


A woodland path, overshadowed by trees, — 
leading to a village, the red roofs of which are _ 
seen in the distance, where the gnarled trunks of 
trees frame in a spot of light. Against the sky 
are seen the slender bole of a birch and the — 
branches of other trees ahd the flicker of leaves. 
A peasant woman and her child are strolling a: 
along the path toward the village. a 


Signed at the left, Corot. 


Height, 21 iene width, Bi inches. 
LAR ea eke 


ILE JACQUE 


EM 


CHARLES EMILE JACQUE — 
2-LANDSCAPE AND SHEEP 


In a pleasant grassy meadow, with scattered, _ 
rounded trees, a shepherdess stands in the shade __ 
surrounded by a large flock of sheep and lambs 
quietly feeding as they range over their pasture. __ 
The flock is partly in synlight and partly in 


shadow. . “4 
Ws Porrs -. 

Signed at the left, Cu. Jacque. \ { ‘ 
. Height, 20 inthes; length, 25 inches. 


poe 


‘ 


eae aN 


< 


RANCOIS MILLET 


¥ 


JEAN F 


2 
ee 


JEAN rn pee 


783—LA NAISSANCE DU VEAU 


Two peasants, bent under their burden, are 
carrying on an improvised stretcher a newly born 
calf to place it in the shelter of the warm stable. 
The mother cow, solicitously caressing her off- 
spring, follows close at hand, accompanied by the 
milkmaid. In the background on the left is a 
dense hedge of trees, with the opening of a gate- 
way, and on the right is the facade of the simple 
farm-house and stable in one, with a row of 
gnarled tree-trunks. 


Signed at the right, J. F. Miter. 
Height, 19 inches; length, 23% inches. 


/ 179 Cottection Savuchpe,~Paris. We SL 8 7 Spf Dre 


EtcHep py Maxime LaLtanne, Paris. 

CottEcTION Duz, Parts. 

MemoriaL Exuiprtion oF Miitret’s Works, Paris,~1887. 

Loan Exuipition oF MAstTErPIECES BY CONTEMPORARIES OF 
BaryE, HELD IN THE AMERICAN ART GALLEpIEs, New York, 18 


Ae bY I Keg 


ee é Ride teeny AQ a 5° 


| 
| 


TAZ | 


A composition gay with figures of maidens, 
children, and cupids, rich with warm flesh, beau- 
tiful draperies, deep-toned foliage, and glow- 
ing sky. In a glade near a pool, four maidens, 
with attendant cupids whispering of love, are _ 
enjoying a bath of sunlight and soft summer air, __ 
their loosely held garments only half covering 
their figures. Each turns a willing ear to the per- 
suasion of the love gods and smilingly joins in 
the festival. 


ann 
Signed at the left, N. Diaz, 770, and Vente Dtaz. ptr bh se 
caret csi, 


SWhetirereeereeE 
Height, 22% inches; length, 29 inches. 


74—CUPID’S FESTIVz 


Pons. ees 
Bee toy a le ‘ 


y lS 


nw J. B. C. COROT 4 
i 75—-LE BOU LEAC 7 es - 
/ is a : 
| A simple motive, dignified by the choice of _ 
effect and arrangement of masses. A pond, 

overshadowed on the right by a group of trees 
| | and bordered by rankly rich meadows, reflects in 
its narrow extent the light of the sky and a hint 
_ of the colored roofs of farm-houses beyond the 

water. Breaking the line of hills on the left are 
! pollarded willows growing near a large boulder, 
| and a graceful birch tree lifts on the right its 
feathery crown against the clouds. The sunlight i 
| touches crisply the silvery bark of the birch, il- 
| luminates the bright-colored garments of a peas- __ 
ant woman kneeling by the pond, and flickers on 


} the wild flowers which are scattered over the 
i broken ground. : | 

0 Newt 
Signed at. the left, Coror. : L. 4 \ 


a 


Height, 20% inches; length, 31 inches. 


CoLLecTION oF Mr. GAmBart, LONDON, FOR WHOM IT WAS PAINTED. 


Y ERSKINE NICOL 
Y6—NOTHING BETTER TO DO 


An old Highlander, sunning himself against 
the whitewashed wall of his thatched cottage, is 
intent on knitting a stocking. He wears a Scotch 
bonnet, a blue waistcoat, and leather-colored coat 
and trousers. Beyond the sunlit corner of the 
cottage is seen the distant moorland, with sheep 
feeding on the hills, whose summits are lost in the | 
driving mist. A bunch of onions and a few herbs 
hang against the wall on the right. The figure 
is shown to the knees only. 


Signed at the right, 3Nicot, A.R.A., 1873. 
Height, 24 inches; width, 18 inches. 


Uns 
| SLAIN PELOUSE 


»7—ON THE SEINE 


The Seine has long offered an infinite variety 
'__ of motives for the landscape painter, and this 
I 3 _ picture shows a remote village, half hidden by 
| __ trees, at the moment after sunset when the sky 
is in full glory and reflects itself with the trees 
| and the houses in the perfectly smooth water of 
the river. The sedgy bank, with scattered 
bunches of rushes, softens the lines of the reflec- 
_ tion, and on the left a plume of white smoke is 
seen half against the foliage and half against the 
sky. 


Signed at the left, G. Petouse. 
Height, 19% inches; length, 24% inches. 


PaintTeD For Mr. LyAtt, 


JOSH FRA va | 
\3 4. Xtras 
Q 78—IN THE ART GALLERY 


A Capuchin and a Dominican monk who have 4 
been wandering about a picture gallery, pause 
before a picture which shows a monk talking with 
a young lady who holds a red parasol over her q 
head. They are laughing heartily at this pic- — 
ture, forgetting entirely the religious subject 
which occupies the wall behind them. The Ca- 4 
puchin holds in his right hand a huge red um- 
brella with a striped green border. - 


Signed at the right, J. Frappa. 
Height, 23% inches; width, 19% inches. 


THomas Rew Coie CTION. 


7Fypor xs: A 40 we 


%—DESPATCH BEARER 


Ese 


7 Seated on a long, sumptuously upholstered 
_ divan, half in sunlight against a richly orna- 
mented wall, a Moorish personage of rank is 
ga ae a manuscript which has just been handed 
him by a soldier armed with helmet, shield, and 
_ sword, whose bronze- colored skin is only half 
Ss ~ covered by a silk drapery. A deep-toned rug lies 
_ ‘slantwise on the polished floor, and on the left 
are a tall bronze vase and a low brass mangal 
or brazier. 


Signed at the right, R. Ernst, 1885. 
Height, 24 inches; width, 19% inches. 


ee 
“ a i eer Se 


80—LANDSCAPEVAND SHEEP 


Near a farm-house, which stands on a slight 


eminence and is half hidden by trees, a shep- — 4 


herd and shepherdess watch their straggling 
flock. .A white horse with rider is seen on a dis- 
tant path or track, and irregular masses of trees 


come out strongly against a gray sky with a 2 


threatening rain cloud. 


Height, 23 inches; length, 28 inches. 


. ‘Viies 


Oe 


 ERSKINE NICOL | 


5 - Le . 
Ea is 
{ . ; 

~ ie hs 
# 


me 


, ERS E NIG : 


81—CLUB LAW 


A ragged, frowzy Irishman, on his native — 
heath, brandishes his blackthorn stick, the tradi- 
tional weapon and constant companion of Paddy — 
at home. A wild heath with a misty sky makes — 
a background for the figure quite in harmony — 
with the spirit of the subject. The figure is seen _ 
above the knees only. i 


Signed at the right, SNicor, A.R.A., 1866. ae 
Height, 21 inches; width, 21% inches. 


\r| y° 


EMILE Ey N eee 


82—LAN oe AND CATTLE 


A group composed of a white-faced red cow - 
accompanied by her calf, and solemnly followed 
by a black cow, occupies the near foreground, — 
contrasting in strong light and shade with the ~ 
distant pastoral landscape, where are seen a la- 
boring peasant woman and cattle in the distance, _ 
all in the broad light of midsummer. Sandy — 
paths break the green carpet of the meadow, and — 
tiny spots of blue in the veil of clouds suggest _ 
a perfect summer day. , = 


Signed at the left, Ea. Van Mancxe. 
Height, 22 inches; length, 3114 inches. 


a, 


COIS AUGUSTE BONHEUR 


2 TRAN 


7 


pete 


ke 


y? F. AU 


83—SUMMER 


On a still summer day a group of cows is 
standing in a shallow river which sluggishly flows 
through the meadows where great clumps of 
oaks cast deep shadows on the grass. Along the 
river bank are tall, slender trees, sparse of fo- 


ME 


liage, and pollarded willows. 


Signed at the right, Aucuste BoNHEUR. 


Height, 23 inches; length, 31 inches. 


sos 


ces % 


VINCENTE PALMAROLI Qo: 


84—A PRETTY ea, We 


This is probably a study of an accidental pose 
of a favorite model caught in the intervals of sit- 
ting. Perched on a table which is draped with a | 
cherry-colored velvet cloth, a young girl, in thin I 
white Empire dress, with pale purple embroid- | 
ered petticoat and dainty pointed slippers with 
Jewelled rosettes, is playing a mandolin. A gray 
skin rug in the foreground half hides the orna- 
mental base of the table, and in the background 
are palms, a tapestry, and a vista into another 
room. : i 


Signed at the right, V. PatmMarout. 
Height, 28% inches; width, 24 inches. 


From rHe Cotiection or H. L. Dovusman, Me Str. Lovis. || 
i f a ey Diam ta 

= A swe | 
et WR VA | 


vy 


ni? 6 


85—OLD BEA 


Two gay Venetian cavaliers, arm in arm, gos- 
sip, as they cross a narrow bridge over a canal, 
about the charms of a Juliet who is seen in the 
window at the balcony of a house they have just 
passed. Both the beaux are dressed in silk and 
velvet, and one wears shades of red, the other of 
blue and orange. The background is a narrow 
street, mostly in shadow, and the facades of 
houses along the canal. 


Signed at the left, C. Becxer. 
Height, 29% inches; width, 23 inches. 


nce 


we 
% 
x 
fa3 
poy 
cr 
£ 


* 7 . a J 4 
- e 3 PS ™ > ht Soe 
aa ee. ae ee 


ONNAT 


> 


a ay 


a 


O° LEON ONNAT 
() 0 SNe 


86—THE BROKEN PITCHER 


An Italian child in white chemise and head- 
dress, and a light blue petticoat relieved by a red 
overskirt tucked up from under a variegated 
apron, is standing under a strong light from the 
zenith, which throws the figure into vigorous and 
solid relief against a deep-toned background, 
which suggests in its indefiniteness a wood over- 
hanging a spring. A bit of blue sky shows near 
the upper left-hand corner of the picture, and be- 
hind the girl the fragments of a brown earthen 
pitcher are lying on the warm-colored sand. 


Signed at the right, LN. Bonnar. 
Height, 28% inches; width, 18% inches. 


ee er Os Te | 


; yv ‘ 
‘YY JULES BAST aa 
8S7—RIRE D AVRIL y, 


A typical French village, with its bald fa- 
cades, blank walls, and red-tiled roofs, 1s seen 
against a placid, almost cloudless spring sky. 
Cutting the broken line of roof on the left, a 
slender fruit tree rises with a network of delicate 
branches and a profusion of pink blossoms. The 
whole foreground, an area of cultivated land, 
broken here and there by spots of verdure and cut 
by a narrow stream running between grassy 
banks, is in shadow full of reflected light. The 
figures of two girls washing clothes in the stream 
give life to the scene and add to the impression of 
primitive simplicity of intention which is the 
keynote of the picture. The flash of sunlight on 
the distant houses and on the spring blossoms 
warrants the sentiment which the title suggests. 


Signed at the right, J. Bastten-Lepace, Damvittiers, 1883. 


Height, 26 inches; length, 31% inches. 


aes SR om pen FY gs = — so Bee Sa a ee eS ee RR aa Dad RE OR I a SEE OP De TT 
Lae ane Soe = SS BS RS ST SEES a 
We 3 My 
“3 
. 


FF ORNANS 


O 
ay 


GUSTAVE © cour 


y ee 


A gorge in a limestone country, where a 
winding stream runs below cliffs and between the © 
steep escarpments of grass-grown slopes. Sturdy — 
trees have seized a foothold among the masses of 
rock and thick woods crown the distant hilltops. 
Gray ledges of rock crop out among the verdure 
in the distance and sharply accent the fore- 
ground. A narrow strip of sky with white 
clouds is seen beyond the hills. ie 


Signed at the right, G. Courset. 
Height, 28% peRee length, 354% inches. 


Cottection oF M. BERNHEIM, PARIS, WHO PURCHASED IT FROM 
THE SISTER OF COURBET. 


0° JEAN LEON GEROME 


cy 


8I—A STROLLING MERCHANT 


In one of the narrow, dusky streets of the 
native quarter of Cairo, a turbaned vender of 
rich second-hand garments and choice weapons is 
crying his wares. In his right hand he carries a 
Persian helmet with intricate chasing, and in his 
left, resting against a mass of soft silk draperies, 
he holds a long gun, inlaid with mother-of-pearl. 
Near by are scavenging dogs, and in the gloom 
behind and to the left are seen the figures of bar- 
gaining natives. To the right is a long vista 
through a crowded street with a sea of white tur- 
bans and, above, the high facades of native houses 
and the minaret of a mosque against a bit of blue 
sky. 


Signed at the left, J. L. Gtréme. 
Height, 3014 inches; width, 21 inches. 


so) by, P x a 
ee 
ee . 
Peis 
% \ a 
ee i. : ; C \ 
ee : 
B es ee : 
£ eo uee . ; : te 


a4 


EUGE INE OP ee sg 


4 90—THE CARDINALS BLESSIN df 


This picture illustrates an incident in a 
crowded street in the old and populous part of 
Rome, where a procession of monks, headed by 
a cardinal and bearing a banner, halts for a mo- 
ment under an archway while his eminence, in 
full robes, lays his hands in blessing on the head 
of a kneeling man. On either side of the street 
are groups of people huddled against the wall to 
give room for the procession, some of them kneel- 
ing, all of them devoutly interested. Under the 
arch and above the roof of it is seen the intense 
blue Italian sky. 


Signed at the left, K. Isasey. oo Ne pas PF 


aad 
Height, 31% inches; width, 25% inches. 
a 


AR oe Cee ‘Oo 12. 
As 


{ 


-'TROYON 


oN 


SON 


oe oe ee 
LM oe ee 
eed ee he a! 


ye) CONSTANT TROYON 


, 91—CATTLE D3 ff i | 


This is essentially a cattle piece, for the ani- 
mals, a red and a white cow, form the one impor- 
tant feature of the composition. ‘They stand, in 
the strong light of mid-afternoon, head to head, 
caressing one another after the manner of their 
kind. Close behind them is a mass of wild flow- 
ers, indicating the uncultivated border of a 
wheat field, and beyond is a narrow strip of low 
country in the distance. The sky which occupies 
two-thirds of the picture is of a clear deep blue 
with a few drifting clouds near the zenith. = || 

yee sO | 
Cannio ae a || 

Signed at the left, C. Trovon, 1856. Ae A 
Height, 28% inches; length, 36 inches. 


A. T. Srewart Cottection, 1887. Nes a ; so 


GE Sd 449 


ae C.F, DABRIGNY. 
 98—EARLY SPRING by /]} Ue q 


On the right a grassy eminence, surmounted — 
by a clump of trees, slopes to a river which leads 
into the picture from the left and disappears, 
winding away beyond a tree-crowned point. The 
sky is covered with a lofty stratum of vapor, 
showing here and there a note of blue and ac- 
cented by the forms of cumulus clouds drifting 
below it. The moisture-laden atmosphere softens 
the sunlight, which throws cool shadows on the © 
grass and intensifies the contrast between trees 
and sky. 


Signed at the right, DavBieny. 


Height, 23% inches; length, 39 inches. 


LA 


® | ‘. 
a : | 4 


VENIR 


SO 


rs ; Cantar oa 
i e : ao SY es : © 
Bre c J 
pare he : 
$ ~* \ pr é 
Pane =f , 

Bn a ‘~ 4 t t f 
4" 9 tre , 


93—SOUVENIR OF GERIA 


30° EUGENE FR ye 


North Africa is full of surprises in architect- 
ure, and the subject of this picture shows to what 
an extent the artist was impressed by the juxta- 
position of modern and ancient structures. A 
many-arched and half-ruined aqueduct, leading 
to an acropolis of moderate height crowned with 


simple massive buildings whose rigid lines are 


agreeably broken by a tower or two, occupies the 
middle distance, leaving a glimpse of distant hills 
beyond on the left. The southern sunlight forces 
into strong contrast the masses of architecture 
and brings out the rich and kaleidoscopic-colored 
garments of a group of Arab horsemen cara- 
coling over the rough ground as they approach 
the citadel. The deep blue sky is broken by a few 
gray clouds, and patches of green turf and the 
familiar aloe enrich the rough ground surround- 
ing the buildings. 


Signed at the left, Kuc. Fromentin. TY / eS 
Height, 19% inches; length, 364% inches. 


CoLtLEcTION oF M. Bevucniet, Paris. .s xs 


C Bho 
: rut 


b) q 
x i 
: a 
: i 
H 1 
Ta qt 


[ERIE 
: PROTAIS ONE ae 
wo 


> 


94—PRISE DUNE BATTERIE 


P. A. PROTA 


This is a battle scene, presumably an episode 
of the Crimean War, with a multitude of small 
figures. The first line of a strong force of Zou- — 
aves has just charged a field battery, and a cap- 
tured gun, surrounded by the enemy’s slain and 
the scattered dead and wounded of the victors, 
shows that the fight for the piece has been a stub- 
born one. To the right, and sweeping away in 
a curve to the smoky distance, a second line of 
men is rushing on to the support of the advance, 
which is still engaged with the enemy. Through 
the thin veil of drifting smoke are dimly seen dis- 
tant fields and troops in regular formation. 


Signed at the left, P. Arex. Protats. 
Height, 254 inches; length, 39% inches. 


Parntep For Mr. LYALtt. 


LES 


DU TRA 


VA 


x 


me 
sg 
° 
ey 
cin 
” 
~ 


i 

i 

H 

| 

t 

} 

ta 

Hall 

| 

Ha 

Ui 
| 


sn 


pe 


JULES ADOLPHE wee 4 
( ) ee 


95—LA FIN DU TRAV AIL 


The season of late summer, when the earth is 
carpeted with lush vegetation and when, at sun- 
set, a delicate warm glow bathes the whole land- 
scape, has often impressed this artist, who with 
brush, and also with pen in verse, has rendered 
the charm of the hour and the idyllic side of peas- 
ant life. The incidents in this picture are in their 
H favorite setting. On a wide area of cultivated 
fields, over which steals the first twilight shadow, 
i a number of peasant women are finishing their 


EEA LIDDELL AAA 


RS 


; 
See Se 


' day’s task. A warm glow of reflected light from 
i the sun below the horizon embraces the whole 
| landscape, softens the sharp crescent of the new 
i moon, and the brilliancy of the light of the even- 
t ing star. Near the middle of the picture, toward 


the left, and seen partly against the sky and 
it partly against the wide extent of the field, two 
women are filling a sack with green fodder and, 
' beside them, a little girl with jug and sickle is 
signalling to a distant comrade who, following 
her mates, is about to turn homeward where the 
i distant village spire is seen among the trees. 


: 
Signed at the right, Jutes Breton, 1887. 
| Height, 29 inches; length, 47 inches. 


\e her DEL IX 7 
a uth DE “REBECCA | 


_ The motive of this picture is found in Sir 
Walter Scott’s novel of “Ivanhoe,” and the inci- 
dent illustrated is the abduction of the Jewish 
maiden Rebecca by the followers of the Templar 
Brian de Bois Guilbert. A Moorish horseman on 
a mottled gray Arab charger lifts from the arms 
of a foot-soldier the inert form of the Jewish 
maiden to place her behind him on his saddle. 
The group, which is full of movement and of 
strong contrasts of light and of color, is sup- 
ported by the figure of a galloping cavalier to the 
right and below, while in the background are the. 
towers of Front de Boeuf’s castle all ablaze, send- 
ing out great clouds of tawny smoke which half 
cover the expanse of blue sky. In the fore- 
ground are a drum, a spear, shield, and a quiver 


rrows. 7 ; 
oe lee A If a“ b 
Signed at the right, Kuc. DELacrorx. ~~ ‘ 


Height, 39% inches; width, 32 inches. 


“T/Enlévement” was first exhibited in the Salon of 1846. 
On May 29, 1852, it appeared in the Callot sale; on February 9, 
1856, in the sale of M. T , of Brussels; on March 7, 1870, in 
the Edwards sale, and in May, 1883, in the Sabatier sale. On 
May 17, 1888, it was purchased at the sale-of the late S. Gold- 
schmidt by M. Knoedler & Co., of New York, for the collection of 
D. C. Lyall, Esq., of Brooklyn. This picture was exhibited in 
1889-90 in the Barye Exhibition, New York. 


Jie. Valen bloc 

/Bje - . eed Latevardé i SS 
/SS3 . At debe Le. ere Lees 
Hilt.» pllobadedse -©9.s00 hevesstte 


> es 


German War 


Franco- 


rat 


SE MARIE DE NEUVILLE 
stration see Frontispiece 


.LPHONSE NEUVIAE ; 
97—THE DESTRUCTION OF THE : 
TELEGRAPH LINE: 


An Episode in the Franco-German War 


MK: Ce 4176 - ff vexny 


This picture was the last important work un- 
dertaken by the artist before his premature death. 
In an interesting letter, a translation of which is 
given below, he gives a picturesque account of 
the incident he illustrated and of the circum- 
stances attending the painting of the picture. 


Signed at the left, A. pe NEvvitte, 1884. 
Height, 47 inches; width, 32% inches. 


My Dear Friend: My picture represents an episode in the 
Franco-German War—the destruction, by Prussian dragoons, of 
the telegraph of Etretat in Normandy. 

The incident is described in a very vivid way by Ludovic ; 
Halévy in his book, “L’Invasion.” I have not changed his de- 
scription and have added simply the character of the curé who - 
advises the old mayor to accept the inevitable with resignation. f 

The landscape resembles Etretat only very vaguely. Like all 4 
Norman villages on the coast, it is composed of dilapidated old F 
houses nestling at the foot of great chalk cliffs. In order to : 
depict Etretat exactly it would have been necessary to bring in ; 
the casino—and that would have detracted from the picturesque- 
ness of the picture—so I have omitted it. I have also changed 
the uniforms of the Prussian dragoons; they belonged actually to 
the guards, who have scarlet collars. I took, however, another 
regiment, because I thought the yellow looked better. 


ee ee ee eo ee es 


You would find all the details in Ludovic Halévy’s description 
too long; so I give the incident in the following few lines: The 
dragoons have suddenly entered the village; the cry is heard from 
all sides, “The Prussians! ‘The Prussians!” The crowd gathers; 
the mayor is sent for, a good old fisherman called Father Vatiget 
(I knew him well). He puts his tricolor sash over his coat and 
comes to parley with the chief of the Prussian detachment. The 
latter points to his men who are destroying the telegraph by 
cutting the wires with their sabres and sawing the posts at the 
bottom, ete., and says: “If you repair what we have cut down, 


or allow it to be repaired, we shall burn the village and impose 


on it a fine of ten thousand francs.” Halévy, who was present, 
and who may be seen in my picture standing behind the curé, 
cannot refrain from saying: “ Excuse me, Captain, I think you 
have made a mistake; you should say, ‘ We shall impose a fine of 
ten thousand francs on the village and then we shall burn it, 
for if you begin by burning it, I think your fine will be very 
much lessened.” The Prussian officer, a little surprised at first, 
finally answers him coldly: “ You are quite right; we shall begin 
with the fine and we shall burn the village afterwards.” 

After having finished their work the Prussians left Etretat 
to the sound of the trumpet. Some days afterwards the Havre 
sharpshooters came and repaired the telegraph line, the armistice 
followed, and the village was saved. 

This, my dear friend, is the little anecdote on which my pic- 
ture is founded. I have tried to reproduce as closely as possible 
the type of our Norman people. ‘To do this I have made sey- 
eral studies at the sea-coast, and stayed with Duez, whom you 
know. As to the Germans, there is a subaltern officer of the dra- 
goons whose back is towards you in the picture, with high broad 
shoulders, who looks like a Pomeranian—the captain with the dark 
beard resembles very much a lieutenant-colonel of dragoons 
whom I knew at Metz, and whose name was Brawns—almost an 
English name. The others are less important. 


Yours as ever, 
(Signed) ALPH. DE NEUVILLE. 
Paris, January 23, 1885. 


HECTOR FANOT ES 4 


98—GARDEUSES DOLES 


Two peasant girls on the banks of a placid 
stream, one sewing and the other knitting, are 
casually tending a flock of geese, which are strag- 
gling over the meadow across the water and pad- 
dling in the stream. Beyond is a gently rolling 
pastoral country with distant woods, all under a 
summer sky, ) 


Signed at the right, H. Hanoreav. 
Height, 31 inches; length, 39% inches. 


. 


xs 


#99 A SORTIE 


» ADOLE a 


From the arched gateway of a strong citadel 
a large band of Moorish horsemen is dashing 
out, as if to surprise a besieging force. On the 
right, and near the foreground, are two tur- 
baned soldiers, armed with long guns and with 
pistols in belt, one on a light chestnut, the other 
on a black stallion, reining up with difficulty their 
eager animals, to receive the last word of com- 
mand from an under officer on a white horse near 
by. The brilliant sunshine touches with spark- 
ling lights the figures of the men, the arms and 
accoutrements, the horses, and the lines of the 
citadel walls, and throws deep, warm shadows on 
the rough ground. To the left, in the distance, 
is a crowd of horsemen in a cloud of dust, and 
overhead a tender blue sky. 


Signed at the right, Av. SCHREYER. 


Height, 32% inches; length, 51% inches. 


ADOLPHE novavEREAL 


Pe 
re 


” 


p°° W. A. BOUGUEREAU 


100—CROSSING THE STREAM 


A barefooted peasant maiden is carrying her 
curly-haired baby brother pick-a-back through the 
forest, and has just crossed a shallow stream 
which trickles over a rocky bed. ‘The child wears 
but a single garment and the maiden is dressed in 
a long-sleeved white chemise, a deep wine-colored 
bodice, and a blue petticoat from which is turned 
back a purple apron. Her sole ornament is a 
string of corals around the neck. To the left and 
behind the figures, which are life-sized, is a vista 
along the woodland path, with here and there a 
flicker of light and a glimpse of the sky beyond; 
to the right, distant sturdy tree-trunks are 
brought into prominence by a passage of light in 
the extreme distance. 


Signed at the right, W. Bovcurreav, 1869. 
Height, 62 inches; width, 41 inches. 


B. Natuan Correction, 1880. KetcIhb or be. Gall 


-ANTOINE A. E. HEBERT. 


¥ 


oe ANTOIN 


HEBERT 


| By 


101I—LA VOLX CELESTE 


The figure of a maiden, rather more than half 
life-sized, seated on a jutting spur of a ledge of 
rock, is in relief against a sunset sky and a deso- 
late, treeless landscape, through which flows a- 
broad, quiet river reflecting the glow of early twi- 
light. She is dressed in a crimson, gold-embroid- 
ered brocade tunic, with a diaphanous blue man- 
tle draped across her knees. Her right hand 
touches the strings of a small harp and her left 
rests lightly on a scroll which bears a Latin text. 
Her eyes are turned heavenward, as if she heard 
a voice in response to the chord she strikes. 


Signed at the left, Hétserr, 1882. 
Height, 52% inches; width, 30% inches. 


GeorcE I. Senry Coection, 1885. hh OF. VSS. So. oo A, a a 


Pa 


MOISSONNEUSE 


BY 


4 


ie 


oS 


\gv° ANTOIXE YOLLON 


102—MOISSONNEUSE 


i A single figure of a peasant woman standing 
| in a path through a wheat field, shading her eyes — 
with her left hand, while under her right arm she 
i holds a sheaf of wheat she has been gleaning. 
i _ She wears a black velvet bodice, a full-sleeved 
chemise, and a red petticoat with gray overskirt 
il tucked up under her girdle. ‘The ripened wheat 
| against the sky forms a background to the figure, 
t giving high relief to the black and white of the 
i upper part of the dress, to the face with its frame 
of dark hair, and to the flesh of the neck and 
arms. 


Signed at the left, A. Votton. 
Height, 47 inches; width, 29 inches. 


PaIntTeD For Mr. LYALu. 


wee ee Cn | 


108—ON THE DITERRANEAN 


. 
} 
: 
i 
| 


The distant cone of Vesuvius, the Roman 
ruins in the foreground and the busy landing 
place in the middle distance, suggest Capri as 
the motive of this picture. ‘Two women are dress- 
ing after bathing in the water which ripples 
against a great fragment of Roman construction 
which has fallen away from the ruin under the 
rocky eminence on the right. The white sail of a 
fishing boat, seen against the distant headland 
and the quiet sunset sky, makes the focus of the 
picture. To the left stretches the smooth ex- 
panse of the gulf, with here and there a sail. 


Signed at the right, Osw. AcHEnpacn, 1879, 
Height, 26% inches; length, 39% inches. 


OTTO ERDMAN® : 


104— IS IT FOR ME?” 


A pert-looking servant girl with a tray and 
glasses is handing a sealed note to a lady whom 
she has met on the broad staircase of a palace or 
a chateau. The scene suggests the beginning of 
a flirtation by correspondence. The costumes 
are toward the end of the eighteenth century. 
The lady wears a blue silk gown with a yellow 
gray petticoat, and the maid a cap, a red jacket, 
and a striped overskirt tucked up to show a gray 
petticoat and her feet in high-heeled slippers. 


Signed at the left, O. Erpmann, Dr., 1873. 
Height, 36 inches; width, 28 inches. 


5 


da 
© 
= 
i=) 


RR 


tle 


eo PIERRE PD Cardone 1 
S7 | 


105—SPRINGTIME 


“O primavera! gioventi dell’ anno! 


O gioventi! primavera della vita!!!” 


To illustrate an allegory of springtime, but 
with no effort to escape distinct realism, the artist 
has chosen to develop the motive in a new direc- 
tion. A youth and maiden in classical dress, the 
former in a dull red tunic and the latter in white 
diaphanous drapery, are seated in a swing which 
hangs from a tree in the heart of a forest of 
tropical luxuriance of growth. The maiden 
clings trustingly to her lover, with both her arms 
around his neck. Butterflies flutter suggestively 
above them. <A shaft of sunlight accents the 
lines of the figures here and there, sharpens the 
forms of the near foliage, and flickers on the 
iz rough ground. 


Signed at the right, P. A. Cor, 1873. 
Height, 82 inches; width, 49 inches. 


| JoHN Wotre Cottection, 1882. A Se "9S Bes C. al 
ee 
Ke Stel 


‘CERAMICS 


* 


TAs 


“CABINET SPECIMENS 


“2 


S) 


| 


ONZES, BRIC-A-BRAC 


‘ 


ou ‘eS 
ie Ts 


AND 


a 


BR 


ae 


~ 
es 


OTHER OBJECTS 


oe) 


SALE WEDNESDAY AFTERNOON 

z FEBRUARY 11TH, 1903 
BEGINNING PROMPTLY AT 2.30 O’CLOCK 
AT THE AMERICAN ART GALLERIES 


CHINESE SNUFF BOTTLES AND OTHER 
CABINET OBJECTS 


125 MUSTARD-YELLOW SNUFF BOTTLE. 
Ovoid shape. Crackle glaze. 


126 OVIFORM SNUFF BOTTLE: YUNG-CHENG (1723- 
1735). 


Clear white porcelain. Chrysanthemum in flower pen- 


cilled in dark blue. 


127 HARD PASTE SNUFF BOTTLE. 


Shaped to represent an ear of corn. Yellow glaze. 


128 TWO SNUFF BOTTLES: CH’IEN LUNG (1736-1795). 


One with figures in two panels; the other, decoration of 
crabs, grasses and wave designs. 


129 MINIATURE SNUFF BOTTLE: WHITE GLASS. 


Decoration of horses, and key pattern borders modelled 
in relief in red. 


130 TWO GLASS SNUFF BOTTLES. 


One in imitation of agate; the other of yellow texture. 


131 CRYSTAL SNUFF BOTTLE. 


Clear texture. : 


132 CRYSTAL SNUFF BOTTLE. 


Clear white texture. Carved ornamentation of bamboo — 
branch and grasses. | 


133 AGATE SNUFF BOTTLE. 


Mottled brown, with pine tree and birds in dark brown. 


134 PORCELAIN SNUFF BOTTLE: MING. 


Shape of a kylin. Enamelled decoration. 


185 PORCELAIN SNUFF BOTTLE: CH’IEN LUNG 
(1736-1795). 
Carved and glazed in imitation of cinnabar lacquer. 
Phoenix and dragon amid cloud forms. 


136 GLASS SNUFF BOTTLE. 


Pink texture. Pine, plum tree and storks modelled in 
relief in white. 


137 SOFT PASTE SNUFF BOTTLE: CH’IEN LUNG 
(1736-1795). 


Carved and enamelled ornamentation of various symbols. 


138 WHITE GLASS SNUFF BOTTLE. 


Carp and aquatic plants, modelled in relief in ruby red. 


139 PORCELAIN SNUFF BOTTLE. 


Carved kylins disporting amid cloud forms. Coated 
with blue enamel. 


140 SOFT PASTE SNUFF BOTTLE: CHIEN LUNG 


(1736-1795). 


Carved and enamelled boating and ceremonial scenes. 


141 WHITE GLASS SNUFF BOTTLE. 


Ornamentation in black and carved in relief. 


142 AGATE SNUFF BOTTLE. 
Mottled brown. 


143 SNUFF BOTTLE. 


Red and yellow composition. 


144 PORCELAIN SNUFF BOTTLE: CH’IEN LUNG 
(1736-1795). 


Decoration of procession of Chinese boys, painted in 
various enamels. 
145 PINK GLASS SNUFF BOTTLE. 


Various ornaments, symbols and plum blossoms modelled 
in relief in black. 


146 


147 


148 


149 


150 


151 


152 


153 


MINIATURE VASE. _ 


Ivory white texture. Pierced medallions of scrolls and 
symbols. 3 


MINIATURE OVIFORM VASE. 


Rose souffle glaze. 


MINIATURE VASE. 


Oviform. Camelia-leaf green glaze, minutely crackled 
throughout. 


GLASS MINIATURE VASE. 


Oviform. Turquoise blue texture. 


SOFT PASTE ROUGE BOX. 


Phoenix, dragon and peony scrolls carved in the paste, 
under an ivory white glaze. 


ROUGE BOX: MING. 


Hard paste. Philosopher, peony scrolls and other de- 
signs in colors of the Famille Verte. 


MANDARIN CUP AND SAUCER. 


Old Chinese semi-eggshell porcelain decoration of man- 
darin figures, interior and garden scenes in various enamels 


and gilding. 


UNIQUE CUP AND SAUCER. 


Chinese semi-eggshell porcelain. European decoration 
of mythological subjects and various enamels. 


154 


155 


156 


157 


158 


159 


160 


“RICE GRAINS” “BOWL. 


Clear white porcelain. Bamboo, pine and plums in vari- 
ous enamels, and “rice grains” pattern in translucent 
enamel. 


SOFT PASTE COVERED BOWL. 


‘ 


Lace pattern, or “ rice grains,” pierced and filled in with 


translucent enamel. Ivory white glaze. 


MANDARIN BOWL. 


Decoration of figures, garden scenes and arabesque in 


bright enamels and gilding. 


SEMI-EGGSHELL BOWL. 


Clear white hard paste. Decoration of garden scene, 
with flowers and blossom in brilliant enamel. 


COVERED BOWL: CH’IEN LUNG (1736-1795). 
Decoration of figures, in circular-shaped panels. Brown 
glaze and gilding. 

ROSE BACK EGGSHELL PLATE. 


Finely painted decoration of boating scene and land- 
scape views in centre; border of flowers and fruits and ara- 


besque scrolls. (Slight repair.) 


OLD CHINESE PLATE. 


Hard paste. Covered with rose-color enamel, and deco- 
ration of birds, flowers, and other designs in five white 
panels; branches of plum blossoms on border. 


OLD JAPANESE BRONZES AND OBJECTS 
IN OTHER METALS 


161 TWO SMALL TURTLES. 


Japanese bronze. 


162 MINIATURE SHRINE SET. 
Japanese bronze censer and two vases. Relief orna- 
mentation of peony and butterfly. ; 
163 WRITER’S WATER KETTLE. 


Old Japanese bronze. 


164 JAPANESE BRONZE INCENSE BURNER. 


Branches of lotus and figures in relief casting. Open- 
work cover. 


165 JAPANESE BRONZE OKIMONO. 
Stork on turtle of longevity. 


166 BRONZE INCENSE BURNER. 


Old Japanese priest on fabulous animal. 


167 ANTIQUE JAPANESE BRONZE BRAZIER. 


Phoenix and bats, in relief casting. Signed, Kersar. | 
Eighteenth century. 


168 JAPANESE BRONZE INCENSE BURNER. 


Priest on Sacred Ox. 


169 OLD CHINESE BRONZE CENSER. 


On supports of elephant’s head. Open-work cover, sur- 
mounted by a figure of priest. Carved six-character mark: 
Ta Mine Suen-re Nien Cui. 


170 OBLONG INCENSE BURNER. 


Old Japanese bronze. Partially gilded panel orna- 
mentation of branches of blossoms, tigers, deer and monkeys 
in relief casting; pierced cover. 


171 DRUM-SHAPED COVERED BOX. 


Japanese bronze. Cover ornamented with figures of 
warrior and demons in gold, copper and shakudo incrusta- 
tion. Signed, INovyve or Krioro. 


172 OBLONG BOX. 


Bronze and shibuichi. Skilfully wrought relief orna- 
mentation of quail, peonies, lotus, storks and frogs in silver, 
gold and shakudo; lined with silver. 


173 IRON VASE. 
Bottle-shaped. Incrusted with gold and silver; grape- 
vine design. 
174 PAIR BRONZE OVIFORM VASES. 


By Toun. Bold relief casting amid waves. 
Height, 8 inches. 


175 BRONZE OVIFORM VASE. 


Skilfully wrought ornamentation of floral vines, chrys- 
anthemum flowers and sparrows in gold, shakudo, shibuichi 


and copper. 
Height, 9 inches. 


176 BOTTLE-SHAPED VASE. 


Old Japanese bronze. Rich brown patina, incised 
bands of archaic designs, and scroll handles. 
Height, 9 inches. 


JAPANESE POTTERY 


177 SATSUMA BOWL. 


Decoration of Daimios, priest and stork in enamels 
and gilding. Rich border of peony scrolls and diaper 
patterns. : : 


S. B. Fares Coiiection. 


178 SATSUMA ROUGE BOX. 


Decoration of deity, waterfall and rocks in finely com- 
bined enamels and gilding. 


S. B. Fares CoLection. 


179 COVERED BOWL. 


Old. Satsuma. Soft crackle texture; decoration of vari- 
ous shells and fishes. 


S. B. Fares CoL1ecrtion. 


180 SAKE BOTTLE. 


Satsuma. Brown crackle texture; decoration of various 


figures in enamels and gilding. 


S. B. Fares CoLiection. 


181 KIOTO BOWL. 


Decoration of priest, dragon, storks and wave designs 
in various enamels and gilding. 


S. B. Fares CoLiectrion. 


os ec 


182 


183 


184 


185 


186 


187 


COVERED BOX. 


Old Satsuma. Fine creamy white texture; decoration 
of dragon amid cloud forms and storks in flight, in enamels 
applied in relief on gold ground. 


S. B. Fares CoLiection. 


INKSTAND. 


Old Kishiu pottery, in form of Dog Foo. Surmounted 
by a carved ivory skull. 


OLD POTTERY COVERED BOX. 


Incised wave designs. Cover surmounted by fish and 
gourd. 


S. B. Fares CoLiecrion. 


SATSUMA PLATE. 


Rich decoration in enamels and gilding of figures of 
deities and priests; border of floral and scroll designs. 


Diameter, 12 inches. 
S. B. Fares Coniecrion. 


LARGE BOWL. 


Old Banko. Ornamentation carved in relief. 


Diameter, 11% inches. 


OLD BANKO DISH. 


Plum branch, parrot and swallows carved in high relief 


and enamelled. 
Diameter, 12% inches. 


188 SATSUMA PLATE. 


189 


190 


191 


192 


193 


Decoration of mandarin and priest in enamels and 
gilding. 
Diameter, 10 inches. 
S. B. Fares CoLiection. 


OLD JAPANESE POTTERY COVERED JAR. 


Decoration modelled in high relief and enamelled. Fig- 
ures of Japanese boys punishing monkey, and a priest and 
dragon. Figure of deity surmounting cover. Has tall 
teakwood stand. 


Height, 17 inches. 
S. B. Fares CoLiecrtion. 


IMARI BOWL. 


Rich decoration of flowers, leaf scrolls and other designs 
in brilliant enamels and gilding. 


PAIR PERFUME BURNERS. 


Old Japanese cloisonné enamel. 


PAIR SMALL VASES. 


Illustrating the process of cloisonné enamelling. Cop- 
per, washed with gold, the cloisonné partially filled in with 
enamel, 


S. B. Fares CoLiection. 


PAIR BOTTLE-SHAPED VASES. 


Chinese cloisonné enamel. Floral designs and sceptre 
head and palm leaf bands in various bright enamels. 


194 JAPANESE CLOISONNE ENAMEL PLAQUE. 


Chrysanthemum in. flower. Sparrows and archaic de- 


signs in finely combined colors. 
Diameter, 12 inches. 
S. B. Fares Co.iecrion. 


195 JAPANESE CLOISONNE PLAQUE. 


Companion to the foregoing. 
Diameter, 12 inches. 


S. B. Fares Coiiecrion. 


196 LARGE VASE: MING PERIOD. 


Antique Chinese cloisonné enamel. Turquoise blue 
ground, with peonies amid leafy scrolls in fine red, green 


and white enamels. 
Height, 15% inches. 
S. B. Fares CoLiecrion. 


197 LARGE BOTTLE-SHAPED VASE: CH’IEN LUNG 
(1736-1795). 


Mounted as a lamp. Chinese cloisonné enamel. Deco- 
ration of plum tree in blossom, rich-plumaged bird, peony 


in bloom and butterflies in brilliant enamels, on turquoise 


blue ground. 
Height, 23 inches. 


OBJECTS IN CARVED JADE, AGATE AND 
STONE 


198 ORIENTAL AGATE WINE CUP AND SAUCER. 


With brown cloudings and moss markings. 


S. B. Fares Coniection. 


10g 


200 


201 


e202 


203 


204 


205 


- re) ana 
c ~ bey ” 
a: 


ORIENTAL AGATE CUP AND SAUCER. 


Milk-white and brown cloudings. 


> 
S. B. Fares CoLiection. 


ORIENTAL AGATE CUP AND SAUCER. 


Similar to the preceding. 


S. B. Fares CoLiection. 


CHINESE BELT BUCKLE. 


Jade medallion. Relief and open-work carving of 
chrysanthemum flowers, mounted in gilded brass. 


CARNELIAN VASE. 
On an agate base. ; 7 

Height, 5% inches. 

STATUETTE OF GOD OF LONGEVITY. 


In carved stone, mounted on a carved stone base in 


design of tree trunk. 
Height, 7% inches. 


SEATED FIGURE OF HOTEI. 
In carved stone. 
Height, & inches. © 
STATUETTE OF PRIEST. 


Holding a branch of peach tree. Carved jade of milk- 
white texture. Finely carved teakwood stand. 
Height, & inches. 


/ 


206 TWO CARVED JADE STATUETTES OF CHIL- 
DREN. 
Milk-white texture. Mounted on a carved teakwood 
stand, which is inlaid with ivory. 
Height, 7 inches; width, 6 inches. 


S. B. Fares Coniecrion. 


207 FLAT. OVIFORM JADE VASE. 


Of greenish-white texture. Finely carved lizards in 


bold relief. Scroll handles at neck. 
Height, 6 inches. 


208 JADE INCENSE JAR. 


Globular shaped. Of milk-white texture, and with bold 
relief carving of lizards. Has finely carved teakwood stand. 


Height, 24% inches; diameter, 4 inches. 


209 JADE BOWL AND SAUCER. 


White texture, with greenish veins; highly polished sur- 


face. 
Height, 3 inches; diameter, 6 inches. 


210 CARVED CARNELIAN GROUP. 


Figure of mandarin and sleeping child. Has teakwood 
stand. 


Height, 4% inches; width, 3% inches. 
JADE COVERED VASE. 


Flat bottle-shaped. Fine milk-white texture, with bold 
relief carving of lizards, and open-work scroll handles. 


21 


_ 


Has finely carved teakwood stand. : 
Height, 6% inches. 


S. B. Fares Co.iection. 


212 GROUP OF THREE FIGURES. 


Priest and attendants, in carved soapstone. 
Height, 8 inches; width, 7% inches. 


213 JADE COVERED VASE. 


Flat oviform, greenish-white texture, with three lizards 
carved in bold relief and undercut. Elephant head handles. 


Height, 8% inches. a 
S. B. Fares Cotiecrion. 


214 GREEN JADE VASE. 


Form of three tree trunks. Relief carving of pine and 
plum branches, bird of immortality and.fungi. Carved 


teakwood stand. 
Height, 4 inches; length, 7% inches. 


215 LARGE JADE VASE. 


Milk-white texture. Graceful oviform, with scroll and 
ring handles. Fine carving of archaic design in low relief. 
Height, 8 inches; width, 4 inches. 


216 CARNELIAN COUPE. 


Carved in relief and undercut. Figure of lizard and 
fungi. Has carved teakwood stand. 
Height, 3 inches; length, 6 inches. 


217 LARGE JADE VASE. 
Greenish-white texture. Peony design, with bold relief 


and undercut carving of branches of plum blossom. Finely 


carved teakwood stand. 
Height, 3 inches; length, 7 inches. 


_ 218 CURIOUS SPECIMEN OF JADE. 


Resembling a Chinese fruit. With carved teakwood 
stem and stand. ss 


219 LARGE JADE ORNAMENT. 


220 


221 


222 


223 


Greenish-white texture, with mandarin, duck, lotus pods 
and fungi in relief and open-work carving. Has group 
of finely carved teakwood stand. 

_ Height, 6 inches; length, 8 inches. 


JAPANESE IVORY CARVINGS AND 
LACQUER 


IVORY CARVING. 


Father and son. Nineteenth century. 
Height, 2% inches. 


IVORY CARVING. 


Urashima taro and a turtle. By Kogetsu and signed. 


Nineteenth century. 
Height, 3 inches. 


S. B. Fares CoLiecrion. 


IVORY CARVING. 


“Miko,” or darling of gods. A fine carving. Nine- 


teenth century. 
Height, 5 inches. 


IVORY CARVING. 


A priest and his watch-dog. By Shunmei and signed. 


Nineteenth century. 
Height, 4 inches. 


224 


225 


226 


227 


228 


229 


230 


IVORY CARVING. 


A young Samurai with a gourd and sake cup. N ine- 


teenth century. PP 
eight, 3 inches. _ 


IVORY TUSK. 


’ 


Frigates ‘‘ Constitution’ and “‘ Java” on one side, and 


“The Orpheus” on the other. Etched. ; 
Length, 6 inches. | 


PAIR IVORY VASES. 


Ancient court noble hunting near Mount Fuji. Nine- 


teenth century. 
Height, 3% inches. 


IVORY CARVING. 


A group of performers: daikoku and his companions. 
By Komin and signed. Early nineteenth century. 


Height, 4 inches. 
S. B. Fares CoLectrion. 


IVORY CARVING. 


A priest and a boy. Nineteenth century. 
Height, 4% inches. 


IVORY CARVING. 
Jurojin and a boy. By Unpo and signed. Nineteenth 


century. 
Height, 5 inches. 


IVORY CARVING. 


Genii and boy, with horse and gourds intricately carved. 


Nineteenth century. 
Height, 6 inches. 


aa ne nly 


231 IVORY CARVING. 


A skeleton figure, with monkey and a demon skilfully 
carved. By Mitsunaga and signed. Nineteenth century. 


Height, 5% inches. 
S. B. Fares Coiiecrion. 


232 IVORY CARVING. 


A group of three boys playing with mask, drum and 


afan. By Shunji. Nineteenth century. 
Height, 4 inches. 


238 IVORY CARVING. — 


Fagot gatherers. By Muneshige. Signed, Icurriusar 


Munesuice. Nineteenth century. 
Height, 4 inches. 
S. B. Fares Coiiecrion. 


- 984 IVORY VASE WITH STAND. 


Subject from a legendary story. Kinkosennin riding on 
a carp, and a genii carved in bold relief. By Giokuri. 


Nineteenth century. 
Height, 7 inches. 
S. B. Fares CoLiectrion. 


235 IVORY CARVING. 


Priest carrying a basket of fruits and a tengu holding 
an image of Buddha. By Munenori and signed. Nineteenth 


century. | 
Height, 5% inches. 
S. B. Fares CoLiectrion. 


236 IVORY CARVING. 


Samurai, his daughter and his son. Skilfully carved by 


Komin and signed. Nineteenth century. - 
Height, 5 inches. 


237 


238 


239 


240 


241 


242 


IVORY CARVING. 


A big skull, upon which are a skeleton fine frogs and 
snake at play. By Giokuju and signed. Skilfully carved 


in open-work. Nineteenth century. 
Height, 5 inches. 


IVORY CARVING. 


A figure of ancient fisherman and a female figure stand- 
ing on sea beach. Fine example. By Ittokusai Rakumin 
and signed. Early nineteenth century. - 

Height, 5% inches. 


IVORY CARVING. 


Street performer, with monkey and child. Nineteenth — 


century. 
Height, 6% inches. 


IVORY CARVING. 


Jurojin and his companions, a stag and a boy. Carved — 
by Naohide. Signed, Icuryusar Naonipr. Early nine- — 


teenth century. : 
Height, 6% inches. 


REMARKABLE IVORY CARVING. 


Group of Buddhist disciples, most intricately executed in 
relief carving. By Kogetsu and signed. Early nineteenth 


century. 
Height, 6 inches. 


IVORY CARVING. 


Figure of an ancient Chinese warrior. Skilfully carved. 
Nineteenth century. With lacquer stand. 
Height, 10% inenes. 


2438 IVORY CARVING. 


Court lady, Buddhist priest and prayer bell, skilfully 
carved by Suzuki Nobuyoshi and signed. Nineteenth cen- 
tury. With lacquer stand. 

Height, 8 inches. 


244 EXCEEDINGLY FINE IVORY GROUP. 


Representing warrior returning from a victory, who is 
about being presented with a sword and floral tribute. Set 
on a magnificent gold lacquer stand elaborately decorated 
in raised gold lacquer. Has glass and silver-plated case. 

Height, with stand, 11 inches. 


S. B. Fates Coiiecrion. 


245 PAIR MAGNIFICENT IVORY TUSK VASES. 


Mounted on elaborately lacquered stands. Subject— 
ancient battle scene: figures of warriors on _ horseback, 
carved with great skill and decorated and_ lacquered. 
Carved by Chika-hiro. Signed, Sururiusai CuiKa-HrRo. 


Height, with stand, 26 inches. 


246 INRO. 


Four sections. Gold lacquer. Nashiji inside. River 
scene and boats in raised gold lacquer and polished. By 
Kajikawa and signed. Eighteenth century. 


247 INRO. 


Five sections. Gold and black lacquer. Landscape and 
waterfall, artistically executed in raised gold lacquer. 
Nashiji inside. Signed, Kasixawa. Early eighteenth 
century. : 


248 INRO. 


Four sections. Powdered gold lacquer. Gold Nashiji 
lacquer inside. Storks and pine trees decorated in raised 


tury. 


249 BOX WITH FOUR LEGS. 


Black lacquer. Decorated with floral vines in gold 
lacquer, ornamented with silk cord. Eighteenth century. | 
Height, 2% inches. 


250 CABINET. 


With three small drawers inside and fly door. Black 
lacquer with silver mountings. Fan designs and landscape 
painted in gold lacquer. Nineteenth century. 

Height, 4 inches. 


251 CABINET. 


Of gold lacquer. Three small drawers inside with a 
fly door. Panel decorations of black lacquer. Gold Na- 
shiji inside. Nineteenth century. 


Height, 4% inches. 


252 DAIMIO SMOKER’S CABINET. 


Black lacquer, with silver mountings, silver fire holder 
and silver ash receiver. Decoration of peacock elaborately 
painted in gold lacquer and inlaid with mother-of-pearl. 
Eighteenth century. 

Height, 7 inches. 

S. B. Fares Coiiection. Sree 


and powdered gold. Signed by Toyosar. Eighteenth cen- * c. 


253 CHINESE CINNABAR LACQUER VASE AND BOX. 


Arabesque designs, deeply carved in relief. Eighteenth 
century. 


S. B. Fares Co.iiecrion. 


254 CHINESE CINNABAR LACQUER TRIPOD AND 


STAND. 


Arabesque decoration, deeply carved. Metal-lined. 


Eighteenth century. 
Height, 5% inches. 


S. B. Fares Coniection. 


255 GRAND SAKE SAUCER. 


Red lacquer. Warrior lifting rock standing near water- 


_ fall. In bold relief, painted in gold lacquer and partly 


inlaid with ivory and mother-of-pearl. Eighteenth century. 


Diameter, 22 inches. 


EUROPEAN BRONZES AND OBJECTS 
IN BRASS 


256 MINIATURE STATUE OF MICHAEL ANGELO. 


257 


Wrought in solid silver with ornaments of gold. Base 
of rose antica and verde antique marble. Executed by 
Marchessini of Florence and exhibited at the Centennial 


Exhibition, Philadelphia, 1876. 
Height, 7% inches. 
S. B. Fares CoLiection. 


PAIR MINIATURE. BRONZES. 


Stag and greyhound. Modelled in bronze by P. J. 
Mene. 


S. B. Fates CoLiection. 


2572 TWO MINIATURE STATUETTES. 
Crusaders. | 


S. B. Fares Coniiecrion. 


258 PAIR BRONZE CANDLESTICKS. 


Egyptian design, dark green patine 
; Height, 7 inches. 
S. B. Fares Cotiecrion. 


259 MODEL OF THE ARC DE TRIOMPHE. 
Wrought in bronze; black marble base. 


S. B. Fares CoLiection. 


260 BRONZE GROUP. 


Two greyhounds at play. By P. J. Méne. 


Height, 642 inches; length, 8 inches. 
S. B. Fares CoLiecrion. 


261 BRONZE GROUP. 


Combat between lion and tiger. 


S. B. Fates Coniection. 


262 BRONZE GROUP. 
Monkey jockey riding greyhound. 


263 BARYE BRONZE. 
Jaguar and crocodile. By Barbédienne. 
Height, 3% inches; length, 9 inches. 
264 BARYE BRONZE. 


Walking tiger. By Barbédienne. | 
Height, 6 inches; length, 15 inches. 


265 BARYE BRONZE. 


Bull with head low. By Barbédienne. 
Height, 7% inches; length, 11 inches. 


266 TWO BRONZE COLUMNS. 
The Obelisk and Colonne Vendome. 


S. B. Fates CoLiection. 


267 ROMAN LAMP. 


Reproduction from the antique. 


S. B. Fares CoLiection. 


268 BRONZE BAS-RELIEF. 
The Village Dance. 


269 ROMAN BRONZE FIGURE. 


Winged Mercury. Black marble pedestal with bronze 
bas-relief of dancing fawns, nymphs and satyrs. 
Height, 32 inches. 
S. B. Fatzs Coiiecrion. 


270 ANTIQUE BRONZE GROUP. 


Adriana and Panther. On Sienna marble base. 
Height, 21 inches; length, 16 inches. 


S. B. Fares CoLiEection. 


271 BRONZE BUST. 
Bismarck. By L. Mantel. 1867. 


272 BRASS WALL BRACKET. 


Reproduction of antique. 


273 WROUGHT BRASS WALL BRACKET. 


Chinese design of dragon, and open-work pattern. 


274 WROUGHT BRASS WALL BRACKET. 


- Antique open-work design. 


275 REPOUSSE METAL SHIELD. 


Roman battle scene. 


276 ANTIQUE CLAY VASE. 


Bottle-shaped. Ornamentation of archaic designs and — 
symbols carved in low relief in gray and yellow paste. 
Carved teakwood stand. 


Height, 8% inches. 
S. B. Fares CoLiecrion. 


277 ANTIQUE CHINESE PORCELAIN VASE. 


Quadrilateral shaped. Coarse crackle texture and mot- 


tled sray and brown glaze. Elephant head handles and 
peach-shaped medallions in low relief. | 


Height, 8 inches. 


278 SUNG GALLIPOT. 


Clair de lune glaze over a pronounced crackle. 


Height, 8% inches. 


CHINESE POTTERY AND PORCELAIN 


279 CHINESE GALLIPOT. 


Clear white hard paste. Decoration of dragons amid 
cloud forms and flames, chasing the sacred pearl of omnipo- 
tence, painted in brilliant enamels. Has tall teakwood 


stand. 
Height, 9% inches. 


280 PAIR OLD CHINESE COVERED JARS. 


Thick porcelain. Decoration of battle scenes in bril- 
liant enamels. Boldly crackled throughout and relief orna- 


ments and bands in imitation of iron. 
35b: Height, 14 inches. 


281 TURQUOISE BLUE VASE: YUNG-CHENG (1723- 
1735). 
Chinese porcelain. Carved teakwood stand. 


Height, 13 inches. 


282 LARGE BOTTLE-SHAPED VASE: CHIEN LUNG 
(1736-1795). 


Thick porcelain. Covered with a brilliant red glaze. 


Carved teakwood stand. 
Height, 20 inches. — 


283 TALL VASE: CH’IEN LUNG (1736-1795). 


Oviform, with spreading mouth and base. Thick porce- 
lain, which is coated with a mottled red glaze of the sang-de- 
boeuf type. Carved teakwood stand. 

Height, 23 inches. 


284 


285 


286 


287 


288 


289 


MISCELLANEOUS OBJECTS 
JAPANESE SILVER PERFUME BURNER. 


Engraved ornamentation. 


S. B. Fars CoLiection. 


ANTIQUE SILVER MINIATURE KETTLE. 


Hall mark: Brrmineuam, 1787. 


S. B. Fares CoLiection. 


ANTIQUE SILVER MINIATURE BASKET. 


Open-work pattern. French. Eighteenth century. 


S. B. Fares CoLiecrion. 


ANTIQUE POCKET-BOOK. 


Mother-of-pearl and filigree silver. Medallion of hunt-— 
ing scene. 


S. B. Fares CoLiection. 


ANTIQUE SNUFFBOX. 


Tortoise-shell, inlaid with silver and gold. Florentine 
mosaic inserted in lid. 


S. B. Fares CoLiecrion. 


EGGSHAPE ORNAMENT. 


Made with various woods. 


S. B. Fares CoL.ecrion. 


290 VALUABLE WASHINGTON RELIC. 

Snuffbox made of various woods, the lid inlaid and in- 
scribed as follows: “ Birk of Aberfeldie,’ “ Thorn aboon 
the Well,” “ Heart of Mid-Lothian,” ‘ Planted by Milton,” 
“Elderslie Yew,” “Oak of Torwood,”’ ‘“ Trysting Tree,” 
“Oak of Allowway Kirk,” and “ Broom of Cowden Knowes.”’ 
On the bottom a stanza of “ Auld Lang Syne,” surrounded 
by a wreath of thistles. Within the box is a lock of Martha 
Washington’s hair. 


Note.—THE ABOVE WAS GIVEN BY Martua WASHINGTON TO Mrs. 
James MarsHatut, By HER TO Mrs. SusAN AMBLER, AND OBTAINED 
FROM THE LATTER BY Mr. EK. KretTzmMsr oF PHILADELPHIA AND PRE- 
SENTED By HIM TO Mr. S. B. FAtgEs. 


S. B. Fates CoLiecrion. 


291 TORTOISE-SHELL AND IVORY BOX. 


Containing ivory counters, with etched ornamentation. 


From Bombay. 


292 HANDKERCHIEF BOX. 


Tortoise-shell, ivory and sandal wood. From Bombay. 


\ 


293 TWO SPECIMENS OF CONCH SHELL CAMEO. 
Mounted on plush panels. 


294 OSTRICH EGG. 
With network for hanging. 


295 COVERED CUP AND SAUCER. 


Clear hard paste, from the Berlin Royal factory. Tur- 
quoise blue glaze with festoons of roses and bow-knots in 
gilding. Mark, K. P. M. and sceptre. 1830. 


S. B. Fates Coiiecrion. - 


296 CUP AND SAUCER. 


Copeland’s eggshell porcelain. Richly enamelled deco- 
ration, with borders in imitation of pearls and other gems. 
Mounted on plush panel. 


S. B. Fares Couection. 


297 CUP AND SAUCER. 


Copeland clear white paste; pale-green ground with ~ 
exquisitely painted floral medallions, which are surrounded 
by borders in embossed gold. 


S. B. Fares Coiiectrion. 


298 CUP AND SAUCER. 


Vienna porcelain, dark-blue ground; rich decoration of 
Oriental design. 


S. B. Fares Coniectrion. 


299 BOCARO JAR WITH COVER. 
Oviform, with decorated band of sic design. 


S. B. Fates CoLLECTION. 


300 AVENTURINE GLASS EWER. : 


Salviati. 


S. B. Fares CoLiecrion. 


3800a VENETIAN GLASS PITCHER VASE. 


S. B. Fates Cotiection. 


301 ROYAL WORCESTER TEAPOT. 


Splash glaze in imitation of old Japanese, and relief 
decoration in gold of fern leaves. : 


S. B. Fares CoLiectrion. 


302 


303 


304 


305 


806 


307 


OLD KUTAN A SAKE BOTTLE. 


Decoration of figures and other designs in green, purple 
and yellow. Signed Krvupo. 


S. B. Fares Co.iecrion. 


FRENCH PORCELAIN VASE. 


Amphora shape. Mottled glaze; decoration in gilding. 


Height, 11 inches. 
S. B. Fares CoLiecrion. 


PERSIAN METAL EWER. 


Decoration of equestrian figures; arabesques and diaper 
patterns in blue, red and other enamels and gilding. 


TWO ANTIQUE ITALIAN MAJOLICA PLATES. 


One decorated with landscape, figures and river view and 
border of shells, the other decorated with pastoral subjects, 
leafy scroll border and coat-of-arms. 


HIZEN PORCELAIN VASE. 


Clear hard paste; oviform, with spreading neck and 
base; decoration of equestrian figure, Daimio, and cherry 
tree in blossom in brilliant enamels and gilding. Locust- 
shaped handle in relief. Made by Fukukawa. From the 


Centennial Exhibition, 1876. 
Height, 11% inches. 


S. B. Fares Coiiection. 


JAPANESE BRONZE CYLINDRICAL VASE. 


Relief castings of bats and cloud forms; gold finish. 
Height, 5 inches. 


308 PAIR OVOID VASES. 


White-metal repoussé ornamentation of lotus in bloom. 


Signed, Van Houten. 
Height, 10 inches. 


309 OLD FRENCH PORCELAIN TEAPOT. 


Yellow glaze, with sprays of flowers ; painted in OE 
colors and gilding. 


S. B. Fates CouLiecrion. 


810 OLD DELFT OVIFORM JAR. 


Decoration of lilies and butterflies in dark cobalt blue. 
Height, 8% inches. 


3811 ANTIQUE WEDGWOOD PLATE. 


Sage-green ground, with relief ornamentation; exqui- 
sitely modelled in low relief; classical subject in centre 
medallion. Mounted in plush frame. | 


Diameter, 9 inches. 
S. B. Fates Coiiecrion. 


812 BRONZE FIGURE OF PSYCHE. 


Height, 13% inches. 


313 WALNUT AND BRASS-MOUNTED GAME BOX. : 


Containing ivory chessmen, counters, chips and checker 


board. 


814 CRYSTAL GLASS AND BRASS-MOUNTED BOU- 


QUET HOLDER. 
Height, 14 inches. 


315 OLD WEDGWOOD CUP AND SAUCER. 


Sage-green ground, with exquisitely modelled relief 
ornamentation of floral and fruit festoons. Rams’ heads 
and cameo medallions. 


S. B. Fares Coniectrion. 


$16 ROYAL VIENNA CUP AND SAUCER. 


Rich maroon and gold decoration and finely painted 
medallion. By Von Boucher. 


S. B. Fares CoLiecrion. 


317 OLD DRESDEN CUP AND SAUCER. 
. - Rich decoration in gilding. 


S. B. Fares CoLiection. 


318 AVENTURINE GLASS CUP. 
With dragon handle. 


S. B. Fares CoLiection. 


319 SIX INDIVIDUAL SALTED ALMOND TRAYS. 


Carnation design, with Cupid. 


320 FINELY ENAMELLED VASE. 


Goblet-shaped. By Paul Soyer, of Paris. Medallion 
portraits of Francis II., King of France, and Elizabeth of 
Austria, surrounded by scrolls and floral design en grisaille. 


S. B. Fares Coniection. 


321 RARE MAXIMILIAN TEA SERVICE. 


Consisting of teapot, chocolate-pot, pitcher, sugar bowl 
and six cups and saucers. French porcelain, with decora- 
tion of medallion portraits of Achilles, Mercury, Helen, 
Hercules and other mythological personages, en camaieu; 
and other ornamentation in gilding. Signed, ScHorLcHer. 
The above set, which belonged to Maximilian, was originally 
bought at the sale of the effects of Napoleon I., and after 
the death of Maximilian was bought at the sale of the con- 
tents of Indian Castle, Martinelli, Mexico. 


3822 ANTIQUE CAPO DI MONTI MEDALLION, 


“The Infant Christ.”” Mounted in a wood and metal 
frame, which is inlaid with various stones. 
Height, 9 inches; width, 7% inches. . 


323 ANTIQUE CAPO DI MONTI BAS-RELIEF. 


Mythological subject. Mounted in elaborate wood and a 
metal frame, the inner border of which has various stones | ag 


inserted. . 
Height, 11 inches; length, 13 inches. 


324 TWO ROYAL WORCESTER LAMPS. 
With shades. 


825 WASHINGTON PITCHER. 
By E. Walley. 1856. 


326 JAPANESE LAMP. 


Kaga porcelain. A globular-shaped vase supported by 
a group of priests and animals assembled on a rocky cliff. 


327 


328 


20 


330 


331 


332 


333 


334 


PAIR LARGE VASES. 


French porcelain. Equestrian portrait of Francis I. 
and his queen. Painted in brilliant enamels. 
Height, 20 inches. 


LARGE FAIENCE VASE. 


Greek form. Mottled red glaze and decoration of flow- 
ers and parrot in low tones of enamel. 
Height, 23% inches. 


TWO LARGE JAPANESE PORCELAIN VASES. 


Lacquered ornamentation of flowers, birds and other 
designs. With wood and lacquer stands. 
Height, 4144 inches. 


TWO CARVED WOOD AND GILT STANDS. 
Old Japanese. | 


CARVED WOOD AND GILT STAND. 
Elephant head support. 


JAPANESE EMBROIDERED BANNER. 
From a Buddhist temple. 


GRAND PIANO COVER. 
Elaborately embroidered Japanese silk. 


TWO PAIRS OF BUFFALO HORNS. 
Polished and mounted for hanging. 


835 FINE BRONZE FIGURE. 


“The Moorish Arms Seller.” By E. Peynot. With — 
plush pedestal. . 


Height, 26 inches. 
336 FINE BRONZE FIGURE. 
“ Bacchante.” By F. Duret. 


Height, inches. 


337 ELABORATE JARDINIERE. 


In burnished brass. 
Height, 19 inches; diameter, 17 inches. 


8388 ELABORATE PEDESTAL. 


In bronze and brass. Figure of Neptune. 
Height, 44 inches. 


339 PAIR GRAND SEVRES VASES. 


Graceful oviform shape, with spreading mouths and 
bases. Enamelled with a clouded blue glaze in imitation 


of lapis lazuli. 
Height, 45 inches. 


3840 PAIR ELABORATE PEDESTALS. 
In carved wood and gilt. Louis XVI. style. 


Height, 28 inches. 


3841 ANTIQUE CHINESE LARGE FLOWER-POT. 


Hard paste; elaborate decoration of dragons, birds of 
paradise, peony and chrysanthemum flowers and leafy 
scrolls, painted in brilliant enamels. Border of symbols, 
arabesque and diaper pattern. 

Height, 17 inches; diameter, 184% inches. 


342 


343 


344 


— B45 


346 


347 


348 


CARVED TEAKWOOD PEDESTAL TABLE. 


India marble top. 


BRIC-A-BRAC TABLE. 
Wrought brass. 


WROUGHT BRASS TABLE. 
Marble top and glass shelf. 


GEM CABINET. 


Carved and gilt wood, lined with plush. 


LOUIS XV. GEM CABINET. 


& 
Rosewood, with brass mountings; glass shelf underneath. 


FINE-ART BOOKS AND CATALOGUES 


CERAMIC ART OF JAPAN. 


By George Ashdown and James Lord Bowes. Profusely 
illustrated with colored and half-tone plates. Two vol- 
umes, folio. London, 1875. 


— 


THE WORKS OF ANTONIO CANOVA. 


In sculpture and modelling, with descriptions from the 
Italian of the Countess of Albrizzi and a biographical 
memoir by Count Cicognara. Heliotype edition. Two 


~ volumes, folio. Boston, 1876. 


349 THE TURNER GALLERY 


A series of 60 engravings from the principal works of 
Joseph Mallord William Turner, with a memoir and illustra- 
tive text by Ralph Nicholson Wornun, Keeper and pone 
of the National Gallery. London, 1875. 


350 FIGARO SALON. 


Various numbers. 


851 ILLUSTRATED SALON CATALOGUES. 
1884, 1888, 1889. 3 volumes: 


352 CATALOGUE OF THE WORKS OF BARYE. 


Exhibited in New York, 1890. Large paper copy, 
private limited edition. 


353 MARY J. MORGAN COLLECTION. 


Catalogue de Luxe. Edition limited to 500 pope ra 
which this is number 31. New York, 1886. 


354 A. T. STEWART COLLECTION. 


Catalogue de Luxe. Edition limited to 500 copies, of 
which this is number 78. New York, 1887. 


355 COLLECTION COTTIER. 
Illustrated Catalogue. Paris, 1892. 


356 TWO ILLUSTRATED CATALOGUES. 


Collection Roederer. Paris, 1891. 
Vente Alexandre Dumas. Paris, 1892. 


‘HE CRABBE COLLECTION. 


a ‘Illustrated Catalogue. Paris, 1890. 


‘HE SECRETAN COLLECTION. 


Illustrated Catalogue. Paris, 1889. 


Collection Barbédienne. Paris, 1892. Atelier Emile 
Van Marcke. Paris, 1891. 


AMERICAN ART ASSOCIATION, 
= ; . MANAGERS 


Tuomas i Kirey, 
‘ Auctioneer — 
1 


tt a ewe _— wets — nes - — ~ i 
ee tt, a eatin 
(= =eereee a oe ee Se eee 


G BL 


i 4 ™ 8 
{ G 
it Ay ys . 


7 , 


Aho 


ve 


\ 
At y 


h 


t 
it 


¢ 
¢ 


2 


= 


fore 
eee 


= 4 


de eT OL ye oe 


3 


hy? 


42 


3 


face 


wb in 


cae 
wept 


Saale tx, 


ene, 


ee 


ey 


ie 


anes 


eee? 


ry 


S 


7 
te 
i RAS 


on 


Sltgtace# 


eee 


ee 


Ps 
5 


Nad 


aE 


a 
Bes 


0, 


7 


heh 


ay 


BSS, 
ra 


ee, Of 
sy 
De 7 


* 
- 
st 
> 


ney 
Sz 


